Lady Gaga Learn English with Movies A Star is Born Rachels English

Today you’re transforming your spoken English by studying a scene from the movie A Star Is Born.

When you study this way, you’ll be able to understand American movies and TV effortlessly without subtitles.

Today we’re going to really slow down some of the speech

so you can focus on how one word just slides into the next.

Now the T in last, this is different. It’s actually totally dropped. Last night. Right from the S into the N.

We’re going to be doing this all summer, June 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 speak

and understand English. And as always, if you like this video, or you learn 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.

Hi, Ally.

Hi.

I’m Phil. We met last night?

Yeah. I remember…
Jack sent me to pick you up and take you to the gig.

Oh. My god. Um, but, I gotta– , I gotta work, I c–, can’t go.

He’s really looking forward to this.

I appreciate that. But, um.

I can’t leave. So I’ll be in my car right down the street.

Uh, please tell him: Thank you, but no thank you.

Uh…
Okay? Say it just like that.

And now the analysis.

Hi, Ally.

Hi.

Okay so we start off with three stressed words, and they all have that up-down shape.

Hi, Ally.

Hi.

Aahhh. Notice it’s not flat. Hi. Hi. Hi. Hi. Hi. Hi. Hi. That up-down shape is really important in American English.

It’s what we do with stressed syllables. Hi, Ally. Hi. Now, hi, is one syllable. Hi.

Ally is two syllables it’s the first syllable that’s stressed. Ally.

It has the exact same shape as Hi, but the second unstressed syllable, just

sort of falls into the line of the voice on the way down.

Ally. Ally.

Ally.

Hi, Ally. Hi.

Hi, Ally.

Hi.

I’m Phil.

I’m Phil. I’m Phil.

Which one of those has the up-down shape?

I’m Phil.

Definitely Phil. The word I’m, we barely even hear it.

I am becomes I’m, but when we are speaking in a sentence, we might reduce that to just the M sound,

or a schwa M. I’m Phil. I’m Phil.

I would say it has more of a schwa M feel, unstressed. Instead of I’m, I’m, mmmm, I’m Phil.

I’m Phil.

We met last night?

We met last night? We met– a little bit of that shape. We met last night.

And night has stress too, but since it’s going up in pitch, the stress is sort of a scoop up,

rather than a shape up down. We met last night.

And do you notice how… We’re gonna play that in slow motion for you. Do you notice how it’s so smooth?

Everything connects.

We met last night?

Uuhhh…

I love slowing down speech because that’s when we really get to feel the melody and notice how sloppy

everything is as far as linking together. No definition between words.

The word we is unstressed, it doesn’t really sound like we, does it? It’s more like wih, wih.

We met–

So I would actually write that with the IH as in sit vowel, not the EE vowel. We met last–

okay now, how, T’s are, a true T sounds like this, ttt, we stop the air, we release it.

Every time we do that, it breaks up the line a little bit, because we have to stop the air and release.

So if I made the T in met, a true T, and the T in last, a true T, it would sound like this.

You know what, if I made the T in night a true T. The phrase would sound like this: we met last night.

We met last night. That’s not how he’s doing it at all. We met last night?

We met last night?

All of those true Ts change. Met is a stop T.

We met last– that means there’s a little tiny break, but we don’t take the time to do a release. So we stop the air,

and that stop shows to us that it’s a T. We met last–

We met last–

And so we hear it as a T. Now, the T and last, this is different. It’s not a stop T. It’s actually totally dropped.

We very often drop a T when it comes between two other consonants.

So even if it’s not in the same word, even if it’s linking two words, and the T ends up between two consonants,

we will drop it. So all these words it ends in an ST cluster, last, first, just,

be aware that when they come before a word that begins the consonant, we will almost always drop that T.

We met last night. Last night. Right from the S into the N. And then we have another stop T here.

So the rule for stop T is we usually make a T a stop T when the next word begins with a consonant like here,

or at the end of a thought group, like here. So it’s not: we met last night.

No. We just don’t do true T’s like that. It’s: We met last night?

We met last night?

And the pitch goes up at the end. Even though it’s a statement, he makes the pitch go up and gives it a

sort of questioning intonation because he’s not sure if she remembers that.

And so he’s asking it as a question, as if to say do you remember we met last night?

Instead, it’s just: we met last night?

We met last night?

Yeah. I remember–

The intonation going up shows it’s a question asking for confirmation, and she gives her confirmation.

Yeah. I remember.

Yeah. I remember–

Yeah. Yeah. Yeah. Lots of pitch change there. Yeah. Yeah. Up-down shape.

Yeah.

I remember–

I– she really draws that out longer than you normally would as she’s thinking. I remem–

and then we almost don’t even hear BER because he’s interrupted her and she kind of just drops that syllable.

I remem–

I remem–
Jack sent–

If she does say this syllable, it’s very very, quiet. I don’t really hear it.

I remem–
Jack sent–

I remem–
Jack sent-

But we do have that up-down shape of stress with the EH vowel on the stressed syllable there.

I remem– I remem– I remem– I remember.

I remem–
Jack sent–

I remem–
Jack sent me to pick you up and take you to the gig.

Now let’s listen to his phrase and see what we think these peaks of stress are.

Uuuhhh what has that shape? What feels like the most stressed syllables here?

Jack sent me to pick you up–

Jack sent me– A little bit of shape on that one. Jack sent me, Jack sent me to pick you up.

I would say out of those three stressed syllables, up has that most up-down shape, is the most stressed.

Jack sent me to pick you up–

Jack sent me to pick you up and take you to the gig.

And take you– a little bit of stress there, to the gig.

And more stress there.

And take you to the gig.

A gig is a performance.

Hey, can you come out tonight?

No, sorry. I’ve got a gig.

I’m playing at a bar down the street. We’re doing a jazz set.

For example, you may have heard the phrase gig economy in the news, talking about economics.

This has to do with a shift from being an employee to being a contractor, and working on a gig by gig basis.

For example, someone who drives a car for a Lyft or Uber,

that would be considered somebody in the gig economy.

They’re not employees there. They choose what rides they want to pick up when.

Gigs are used a lot with musicians as well.

I’ve even heard it used as a verb.

Are you gigging tonight?

And take you to the gig.

So those are our most stressed words here.

Let’s go ahead and look at the reductions because we do have some reductions.

Jack sent me to pick you up–

Jack sent me–

I’m going to call that a stop T.

Sometimes, in NT, we drop the T.

Jack sen me, Jack sen me, but I hear it more as: Jack sent me, sent me, Jack sent me.

I’m exaggerating the stop there, but I definitely hear that as a stop T. Jack sent me to– The word ‘to’ reduces.

It’s got more of a flap T sound and a schwa. Sent me to– rararararara– Jack sent me to– Jack sent me to–

Jack sent me to–

Pick you up. Pick you up. Stressed, unstressed, stressed. And the word ‘you’ isn’t pronounced you,

he changes that vowel to the schwa. Pick yuh up–

And the schwa just links very smoothly into the UH as in butter vowel for up.

Pick you up.

Pick you up. Pick you up. Jack sent me to pick you up–

Sent me to pick you up– His lips come together for the P, you can look at that.

But he doesn’t release them. Pick you up– pick you up–

Pick you up–

and take you to the gig.

They come together but then rather than releasing the air, he goes right into the next word which is and,

and he does reduce that, nnnnn, I would write that schwa N.

N absorbs the schwa, so it’s not un un un, it’s just nnnn, and take you–

And take you to the–

You and to, they both reduce, don’t they? These three words are unstressed.

You to the– you to the– you to the– you to the– They’re flatter in pitch, they’re a little bit less clear,

so you becomes: yi yi. I don’t have to move my jaw at all for that. I don’t have to move my lips at all for that.

Yih, yih, yih. My tongue is the only thing that moves.

You to– And even as I go into the word ‘to’ reduced, I don’t have to move anything but my tongue.

And take you to the–

You to the– you to the– you to the– you to the– you to the– you to the– you to the– you to the– you to the–

I can do all of that, linking smoothly into the unstressed word the, I can do all of that without moving my jaw

or lips. You to the– you to the– you to the– you to the– you to the– you to the– It’s all just the tongue.

So you wouldn’t be simplifying your mouth movements as much as possible, so that you can make this string of

unstressed words with the reductions as simply as possible, as quick as possible,

because that’s an important part of the contrast of American English.

You to the gig. You to the gig. You to the gig.

Gig is the word that has the energy.

You to the gig.

The T in take is a true T.

And it’s a true T because it starts a stressed word.

If a T starts a stressed syllable, and it’s not part of a TR cluster, it will be a true T.

If it’s part of a TR cluster it might end up sounding like CH, but here, it’s not, so it’s just: take, take, take.

A light true T.

Take you to the gig.

Now, I hope you guys are noticing really how smoothly everything links together.

And we have reductions that help us do that. We have this continuous sound.

Sometimes it’s scooping up, sometimes it’s falling down, that’s the melody,

but it never feels separate within one thought group, it always feels connected.

So if you’re used to speaking with words more separate, this could be a challenge for you.

Also most people have a hard time simplifying and making these unstressed words as quickly as they can.

Let’s just take the word ‘and’ for example.

You know it’s not ‘and’ , you know it’s ‘an’, but a lot of students will go: and, and, and, but actually, it’s nnn,

it’s even faster. As fast as you can possibly make it. And take, and take, and take, and take you to the gig.

And take you to the gig.

Oh. My god.

Oh. My god. Oh. Really clear up-down shape. Oh. My god.

God is what’s stressed, the word ‘my’ just falls in on the way up. My god. Oh. My god.

Oh. My god.

Um–

Um– Um– That’s the thinking vowel, that UH as in butter sound.

We usually do it just as uh or um with an M at the end.

Um–

but-

But– but– but–

Do you notice that stop T? She doesn’t say but. She says but, but, abruptly stopping the air.

She probably puts her tongue into position for the T, but, and stops the air, but doesn’t release.

But–

I gotta–

I gotta– I gotta– Not very clear, right?

So grammatically, this is a combination of these words, ‘I have got to’,

we combined ‘got to’ into ‘gotta’, and we dropped ‘have’. This is a common way to talk.

You would never want to write this, but to say this is okay. I gotta– I gotta– I gotta–

I gotta–

I gotta– I gotta– The Ts are Flap Ts.

The tongue just flaps up against the roof of the mouth. It’s certainly not: got to, got to, gotta, gotta, gotta.

I would say this is the AW as in law vowel, and then the ending unstressed is the schwa.

I gotta– I gotta– And the AI diphthong for ‘I’ links really smoothly into that.

I gotta– I gotta– no break.

So the stress would be on the stress syllable of go– gotta. I gotta– I gotta–

I gotta-

I gotta work.

I gotta work. She repeats herself, it sounds exactly the same. I gotta, again, flap T,

I gotta work, and then the voice goes back up for the stressed word, work.

I gotta work.

And the K of work releases right into the AI diphthong. Work I. Work I. And that’s an unstressed word,

so it’s flatter down here. Work I, work I.

Work, I– work, I– work, I

c–, I can’t go.

She makes a little K sound here, but then repeats herself.

Work, I c–, I can’t go.

Let’s listen to just this phrase on repeat. Tell me about the middle word ‘can’t’.

Tell me about that T after you listen to it.

I can’t go.

Wow, I don’t really hear it at all. I don’t really hear a stop. I can’t go. I barely even hear the N.

So the T, I would say, is dropped, the N pretty unclear, uuuhhh, stress is on can’t,

but even though it’s stressed, it’s not fully pronounced.

So the word can’t has the K consonant, AA as in bat vowel. When that’s followed by N,

we go through a sound before the N, like the schwa, or the UH as in butter.

However, you want to think of it, it’s the back of the tongue relaxing. Caauhh–

before the tongue lifts in the front for the N. Can– Caauhh–Caauhh– I definitely hear that transition,

those two sounds. The N is very weak though, the T is dropped. I can’t go. I can’t go. I can’t go.

I can’t go.

Da-DA-da. And then the word ‘go’ falls in on the way down of the pitch, it’s got less energy.

I can’t go.

He’s really looking forward to this.

Okay, let’s look at his phrase. What are the most stressed syllables here?

He’s really looking forward to this.

He’s really– I would say there, looking forward to this. And the rest is a little bit less clear,

a little bit more unstressed.

He’s really looking forward to this.

So the word ‘he’s’ just builds up to it. The second unstressed syllable of ‘really’ just falls in on the way

down. He’s really looking forward this. Uuhhhh. That’s the melody you want in your voice,

and you want all of that connection.

He’s really looking forward to this.

When you have the audio at the end of this video, you have the chance to train. There will be slow-motion.

So you’ll have different opportunities to work with the audio in a different way.

And if it’s at all difficult for you to connect everything, you’ll really want to do this slow motion.

That’s gonna help you focus on the linking.

He’s really looking forward to this.

Are you noticing how I’m pronouncing to? Let’s go listen to him do it.

Forward to this.

Forward to this. Forward to this. Forward to this.

It’s really pretty unclear, isn’t it?

Forward to this.

We have a word that ends in a D. Often when that’s followed by the word ‘to’, we just drop the T all together,

and we just link a schwa on to the end. Forward to this. And that’s what he’s doing.

Forward to this. Forward to this. Forward to this. TH, super unclear. Forward to this. This this this this this.

Forward to this.

So if you listen to just these last three words, it all sounds pretty unclear, but in the context of the whole

phrase, I wouldn’t notice that as being unclear. It’s only when isolated.

So when you take these unclear words or syllables and you put them in the context of everything,

they don’t sound unclear anymore, they just sound like part of the natural rhythm of the sentence.

Forward to this.

I appreciate that.

What’s our most stressed syllable in this phrase?

I appreciate that.

I appre– I appreciate that. Definitely ‘pre’ you can even see her eyes open a little bit more wide on that syllable.

I appreciate that.

And these words all linked together really smoothly. I a– the AI diphthong, when that word is linking into word that

begins with a vowel or diphthong, you can feel like it begins with a Y. That glide consonant

might help you connect the two words more smoothly. I appreciate– appreciate–

four-syllable word with second-syllable stress. This C is the SH sound. Shh– preciate– appreciate that.

And we have a stop T because the next word begins with a consonant. Appreciate that.

And she does a stop T here as well at the end of the thought group. Also the next word begins

with a consonant. Appreciate that

I appreciate that.

But, um.

But– but– another stop T. But, um.

But, um. But, um. Appreciate that. But, um.

I can’t leave.

I can’t leave. I can’t leave. All of these words have a little bit of a stressed feel to them.

I can’t leave.

So he’s been told by his employer not to leave without her. So he’s not taking no for an answer.

He says, okay, well I’ll wait. I can’t leave. I can’t leave. Let’s look at our N apostrophe T contraction here.

How do you feel that it’s pronounced?

I can’t leave.

Very, very subtle T. I’m not really sure if I feel it as a stop or as totally dropped.

I can’t leave. I can’t leave. I can’t leave.

I can’t leave.

It almost sounds dropped. So what’s the difference between can and can’t if you’re dropping the T?

The difference is in the pronunciation of the vowel.

If it was the word can, the vowel would be reduced to the schwa, and it would be kin,

because that’s what we do with can when it’s not the only verb in the sentence. I can leave. I can leave.

Now, can has the feel of can, can, can. But when the vowel feels more fully pronounced, I can leave.

I can an an an an, then we know it’s can’t. So it’s tricky, because we feel like the T is the difference

between these two words, but actually, in pronunciation, we don’t really hear full T.

Almost never would that be pronounced with a true T. Maybe a stop T, maybe a dropped T,

almost never a true T. So the difference between can and can’t is more in the vowel than in the T, believe it or not.

I can leave. That’s this word, can, can. I can’t leave. I can’t leave. I can’t leave.

I can’t leave. That’s this word. More of the up-down shape of stress.

I can’t leave.

So I’ll be in my car right down the street.

So I’ll be in my– little bit of stress there. So I’ll be in my car right down the street.

Stop T.

So I’ll be in my car right down the street.

So I’ll, So I’ll, everything links together smoothly. The word I is with the AI as in Buy diphthong.

The contraction ‘I will’ is sometimes pronounced aisle with an L at the end, but usually,

it sounds more like the word all, instead of aisle, all, all, all, all be, all be. I’ll be in my car.

I’ll be in my car.

right down the street.

Car right. These two words link together, single R sound. You don’t need to try to make it longer

to show that there are two R’s there. It can just be one R linking them together. Car right. Car right. Stop T

because the next word begins with a consonant. Car right. Car right down the street.

Car right down the street.

Right down the street.

Uh, please tell him.

Uh, Uh, Uh. Again, that thinking vowel, UH as in butter. I feel like every language has their own

sounds they make when they’re thinking. Uh, Uh, really open and relaxed. That’s the American vowel. Uh.

Uh, Uh, Uh, please tell him.

Please tell him. Please tell him. Most of the stress on please, she really wants to emphasize this.

Please tell him. And then the other two words come in as we go down. We do have

a true T in tell because it starts a stressed word, even though it’s not as stressed as please.

Please tell him. Do you notice what I’m doing with H? She drops the H, doesn’t she?

Fairly common to drop the H in words like him, her, his. Please tell him. Tell him. Um-um-um,

so not him, um, um, um, um, um, I would probably write that with the schwa. Please tell him.

Please tell him.

Thank you.

Thank you. Thank you. Going up in pitch because she’s not done, that is not the end.

She doesn’t just want him to be told thank you. Thank you.

Thank you.

but no thank you.

But no thank you. No thank you. And then this comes down in pitch. Thank you.

The upward intonation shows we’re not done. Thank you, but no thank you.

That’s like a polite way to decline something. Thanks, but no thanks. I’m okay. Thank you, but no thank you.

Thank you, but no thank you.

Thank you. This is a tough word. We’ve got the unvoiced TH, she doesn’t make it super clear,

especially the first time. Thank you. Thank you. Thank you.

Thank you. The K linking right into the U diphthong. Thank you. Thank you.

What is the vowel there? It’s AA as in bat followed by an NG sound.

The N in ‘thank’ isn’t at the front of the mouth, like an N, but it’s at the back of the mouth like an NG. Ng–

Thank you.

So when AA is followed by N, it’s not really like an AA. It becomes more like an AY diphthong, like in the word say.

Tha– tha– thank you. Thank you, but no thank you. But, stop T because the next word begins with the consonant.

Thank you, but no thank you.

And then he says uh, or maybe it’s but, I’m not sure, it’s very fast. Uh. Uh. Uh. Uh.

Uh.
Okay?

Okay? Okay? Okay?

Then she says the word okay, she drops the first syllable, that’s pretty common. Kay, kay, kay, kay? Pitch goes up.

Okay? Okay?

It’s like saying okay? Will you do this for me? Okay? Okay?

Okay? Okay?

Okay? Say it just like that.

Now this last sentence. Let’s listen to it and really try to pay attention to the intonation.

What’s the most stressed word here?

Say it just like that.

Say it just like that. The word ‘say’. So she starts by really stressing that,

and then the rest of the words kind of come down after that. Say it just like that.

Stop T. Say it just like that.

Say it just like that.

Okay we also have a stop T in it, say it, because the next word begins with a consonant.

The T in just, totally dropped, because the next word begins with an L, it’s part of a cluster,

Say it just like that. Can you do it that smoothly?

When you’re working with the slow motion audio, do repeat it back in slow motion.

Feel that stickiness between the words. Say it just like that.

Say it just like that.

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

Hi, Ally.
Hi.

I’m Phil. We met last night?

Yeah. I remember…
Jack sent me to pick you up and take you to the gig.

Oh. My god. Um, but, I gotta– , I gotta work, I c–, can’t go.

He’s really looking forward to this.

I appreciate that. But, um.

I can’t leave. So I’ll be in my car right down the street.

Uh, please tell him: Thank you, but no thank you.

Uh…
Okay? Say it just like that.

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. Maybe so, sir. 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，您正在通过学习电影 A Star Is Born 中的一个场景来改变您的英语口语。

当你这样学习的时候，你就可以在没有字幕的情况下毫不费力地看懂美国的电影和电视了。

今天我们将真正放慢一些演讲的速度，

这样你就可以专注于一个词是如何滑入下一个词的。

现在 T 在最后，这是不同的。它实际上完全下降了。昨夜。从 S 到 N。

我们整个夏天都会这样做，从 6 月到 8 月，每周二和我在一起，

它们都是很棒的场景，还有很多东西要学，可以改变方式你会说

并理解英语。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。

嗨，艾莉。

你好。

我是菲尔。我们昨晚认识的？

是的。我记得……
杰克派我来接你，带你去看演出。

哦。天哪。嗯，但是，我得——，我得工作，我——，不能去。

他真的很期待这个。

我很感激。但是，嗯。

我不能离开。所以我会在街上的车里。

呃，请告诉他：谢谢，但不，谢谢。

呃……
好吗？就这么说吧。

现在分析。

嗨，艾莉。

你好。

好的，所以我们从三个重读词开始，它们都有上下的形状。

嗨，艾莉。

你好。

啊哈。注意它不是平的。你好。你好。你好。你好。你好。你好。你好。这种上下形状在美式英语中非常重要。

这就是我们对重读音节所做的事情。嗨，艾莉。你好。现在，嗨，是一个音节。你好。

Ally 是两个音节，它是重读的第一个音节。盟国。

它的形状与 Hi 完全相同，但第二个非重读音节

在下降的过程中有点落入声线。

盟国。盟国。

盟国。

嗨，艾莉。你好。

嗨，艾莉。

你好。

我是菲尔。

我是菲尔。我是菲尔。

其中哪一个具有上下形状？

我是菲尔。

肯定是菲尔。我是这个词，我们几乎听不到。

I am 变成了 I am，但是当我们在一个句子中说话时，我们可能会将其简化为 M 音

或 schwa M。我是 Phil。我是菲尔。

我会说它有更多的 schwa M 感觉，没有压力。而不是我，我是，嗯，我是菲尔。

我是菲尔。

我们昨晚认识的？

我们昨晚认识的？我们遇到了——有点那种形状。我们昨晚认识的。

夜晚也有压力，但由于它的音高在上升，压力有点像一个勺子，

而不是一个向上的形状。我们昨晚认识的。

你有没有注意到…我们将为你播放慢动作。你注意到它是多么的光滑吗？

一切都联系在一起。

我们昨晚认识的？

呃……

我喜欢放慢讲话速度，因为那是我们真正感受到旋律并注意到一切就连在一起的时候是多么草率的时候

。词之间没有定义。

我们没有重读这个词，听起来不像我们，是吗？更像是wih，wih。

我们遇到了——

所以我实际上会用 IH 来写它，就像坐元音一样，而不是 EE 元音。我们上次见面——

好吧，现在，T 是怎样的，一个真正的 T 听起来像这样，ttt，我们停止空气，我们释放它。

每次我们这样做时，它都会稍微中断线路，因为我们必须停止空气并释放。

所以如果我把met中的T变成真正的T，最后把T变成真正的T，听起来会是这样。

你知道吗，如果我把夜晚的 T 变成真正的 T。这句话听起来像这样：我们昨晚见面了。

我们昨晚认识的。这根本不是他的做法。我们昨晚认识的？

我们昨晚认识的？

所有这些真正的 T 都会改变。 Met 是一个停止 T。

我们最后一次见面——这意味着有一点小小的休息，但我们不会花时间来发布。所以我们停止广播

，那个停止向我们表明这是一个T。我们最后一次见面——

我们最后一次见面——

所以我们听到它是一个T。现在，T和最后一次，这是不同的。这不是一个停止T。它实际上完全下降了。

当它出现在其他两个辅音之间时，我们经常放弃一个 T。

因此，即使它不在同一个词中，即使它连接两个词，并且 T 在两个辅音之间结束，

我们也会放弃它。因此，所有这些单词都以 ST 簇结尾，最后，首先，只是，请

注意，当它们出现在以辅音开头的单词之前时，我们几乎总是会放弃那个 T。

我们昨晚见过。昨夜。从 S 到 N。然后我们在这里又停了一个 T。

所以停止 T 的规则是，当下一个单词以此处的辅音开头时，

或者在诸如此处的思想组的末尾时，我们通常将 T 设为停止 T。所以不是：我们昨晚认识的。

不，我们只是不那样做真正的 T。是：我们昨晚认识的？

我们昨晚认识的？

最后，音调上升。尽管这是一个声明，但他还是提高了音调，并给出了

一种质疑的语调，因为他不确定她是否记得。

所以他问这个问题，好像在说你还记得我们昨晚见过吗？

相反，它只是：我们昨晚见过？

我们昨晚认识的？

是的。我

记得——语调上升表明这是一个要求确认的问题，她给出了她的确认。

是的。我记得。

是的。我记得——

是的。是的。是的。那里有很多音高变化。是的。是的。上下形状。

是的。

我记得——

我——她真的比你想象的要长。我记得

——然后我们几乎听不到 BER，因为他打断了她，而她只是放弃了那个音节。

I remem–

I remem–
Jack sent–

如果她真的说这个音节，那非常非常，安静的。我真的听不见。

I remem–
Jack sent–

I remem–
Jack

sent- 但是我们确实有 EH 元音的上下重音在重读音节上。

我记得——我记得——我记得——我记得。

我记得–
杰克派人–

我记得–
杰克派我去接你，带你去演出。

现在让我们听听他的话，看看我们认为这些压力峰值是什么。

呃呃呃那个形状是什么？这里重读的音节是什么感觉？

杰克派我来接你——

杰克让我来接你——

杰克派我来—— 那个有点形状。杰克派我来的，杰克派我来接你。

我想说，在这三个重读音节中，up 具有最上下的形状，是最重的。

杰克派我来接你——

杰克让我来接你——

杰克让我来接你，带你去演出。

并带你 - 那里有一点压力，去演出。

还有更多的压力。

并带你去看演出。

演出是一场表演。

嘿，你今晚能出来吗？

不，对不起。我有一个演出。

我在街上的一家酒吧玩。我们正在做一套爵士乐。

例如，您可能在新闻中听说过“零工经济”一词，谈论经济。

这与从雇员到承包商的转变有关，并且在一个接一个的基础上工作。

例如，为 Lyft 或 Uber 开车的

人，将被视为零工经济中的人。

他们不是那里的员工。他们选择他们想在什么时候上车。

音乐会也经常与音乐家一起使用。

我什至听说它用作动词。

你今晚要开唱吗？

并带你去看演出。

所以这些是我们在这里最强调的词。

让我们继续看看减少，因为我们确实有一些减少。

杰克派我来接你——

杰克派我来——

我会称之为停止T。

有时，在NT，我们放弃T。Jack

sen me, Jack sen 我，但我听到的更多是：杰克派我，派我，杰克派我。

我夸大了那里的停靠点，但我绝对听到 T. Jack 派我去的停靠站——“到”这个词减少了。

它有更多的襟翼 T 音和 schwa。派我去– rararararara– 杰克派我去– 杰克派我去–

杰克派我去–

接你。接你。有压力的，没有压力的，有压力的。并且“你”这个词没有发音为你，

他将那个元音改为 schwa。 Pick yuh up——

而且 schwa 非常平滑地连接到 UH 中，就像在黄油元音中一样。

接你。

接你。接你。杰克派我来接你—— 让

我来接你—— 他的嘴唇凑到 P 上，你可以看看。

但他没有释放它们。接你——接你——

接你——

带你去演出。

他们走到了一起，但随后他并没有释放空气，而是直接进入下一个单词，

并且他确实减少了那个，nnnnn，我会写schwa N.

N吸收schwa，所以它不是un un un，它是只是 nnnn，

带你——带你去——

带你去——

你和去，它们都减少了，不是吗？这三个字不重读。

You to the– you to the– you to the– you to the- 他们在音调上更平缓，他们有点不太清楚，

所以你变成：yi yi。我根本不需要为此移动我的下巴。我根本不需要移动我的嘴唇。

呀呀呀呀我的舌头是唯一会动的东西。

你到——即使我提到“到”这个词，除了我的舌头，我什么都不需要动。

带你到–

你到–你到–你到–你到–你到–你到–你到–你到–你到– ——

我可以做到所有这些，流畅地连接到不重读的单词 the，我可以在不移动下巴或嘴唇的情况下做到所有这些

。你对–你对–你对–你对–你对–你对–这一切都只是舌头。

所以你不会尽可能地简化你的嘴巴动作，这样你就可以让这串不

重读的单词尽可能简单，尽可能快，

因为这是美式英语对比的重要组成部分。

你去演出。你去演出。你去演出。

演出是有能量的词。

你去演出。

T in take 是一个真正的

T。它是一个真正的 T，因为它开始了一个重读词。

如果 T 以重读音节开头，并且它不是 TR 集群的一部分，那么它将是一个真正的 T。

如果它是 TR 集群的一部分，它可能最终听起来像 CH，但在这里，它不是，所以它只是：take ，拿，拿。

轻真T。

带你去看演出。

现在，我希望你们注意到一切都非常顺利地连接在一起。

我们有一些减少可以帮助我们做到这一点。我们有这种连续的声音。

有时它是向上的，有时它是向下的，这就是旋律，

但它在一个思想组中从来没有分开的感觉，它总是感觉相连。

因此，如果您习惯于用更独立的词说话，这对您来说可能是一个挑战。

大多数人也很难尽可能快地简化和制作这些不重读的词。

让我们以“和”这个词为例。

你知道它不是’and'，你知道它是’an'，但是很多学生会去：and，and，and，但实际上，它是nnn，

它甚至更快。尽可能快地完成它。带，带，带，带你去演出。

并带你去看演出。

哦。天哪。

哦。天哪。哦。真正清晰的上下形状。哦。天哪。

上帝是被强调的东西，“我的”这个词就在上升的路上。天哪。哦。天哪。

哦。天哪。

嗯–

嗯– 嗯– 那是思考元音，那个 UH 就像黄油的声音。

我们通常用 uh 或 um 结尾加上 M。

嗯–

但是- 但是– 但是– 但是–

你注意到那个停止 T 了吗？她没有说但是。她说但是，但是，突然停止了空气。

她可能会将她的舌头放在 T 的位置，但是，并且停止了空气，但没有释放。

但是——

我得——

我得——我得——不是很清楚，对吧？

所以在语法上，这是这些词的组合，“I have got to”，

我们将“got to”组合成“gotta”，我们去掉了“have”。这是一种常见的谈话方式。

你永远不会想写这个，但说这没关系。我要–我要–我要–

我要–

我要–我要– Ts 是Flap Ts。

舌头只是拍打着上颚。当然不是：得，得，得，得，得。

我会说这是法律上的 AW 元音，然后未重读的结尾是 schwa。

我得——我得—— 而“我”的人工智能双元音真的很顺利地链接到了那个地方。

我得——我得——不休息。

所以重音在go的重音音节上——gotta。我

得——我得——我得——我得工作。

我得工作。她重复了一遍，听起来完全一样。我得再一次拍打T，

我得工作，然后声音又变回了重音词，工作。

我得工作。

工作的 K 直接释放到 AI 双元音中。工作 I. 工作 I. 这是一个不重读的词，

所以这里更平易近人。工作我，工作我。

工作，我——工作，我——工作，我

——，我不能去。

她在这里发出了一点 K 音，但随后又重复了一遍。

工作，我——，我不能去。

让我们重复听这句话。告诉我中间词“不能”。

听完之后告诉我那个T。

我不能去。

哇，我完全听不懂。我真的没有听到停止。我不能去。我什至几乎听不到 N。

所以我想说的是，T 被丢弃了，N 很不清楚，uuuhhh，重音在不能，

但即使它有重音，它也没有完全发音。

所以这个词不能有K辅音，AA如蝙蝠元音。当后面跟着 N 时，

我们会在 N 之前通过一个声音，比如 schwa，或者 UH，比如黄油。

然而，你想一想，就是舌根放松。 Caauhh——

在 N. Can 的舌头在前面抬起之前——Caauhh——Caauhh——我肯定听到了那个过渡，

那两个声音。 N虽然很弱，但T被丢弃了。我不能去。我不能去。我不能去。

我不能去。

哒哒哒。然后“go”这个词在球场下降的过程中落入，它的能量减少了。

我不能去。

他真的很期待这个。

好吧，让我们看看他的短语。这里重读的音节是什么？

他真的很期待这个。

他真的 - 我会说，期待这个。其余的则不太清楚

，没有压力。

他真的很期待这个。

所以“他的”这个词就是建立起来的。 ‘really’ 的第二个非重读音节刚刚

落下。他真的很期待这个。嗯。这就是你想要的声音中的旋律

，你想要所有的联系。

他真的很期待这个。

当你有这个视频结尾的音频时，你就有机会训练了。会有慢动作。

因此，您将有不同的机会以不同的方式处理音频。

如果你很难将所有东西连接起来，你真的会想要做这个慢动作。

这将帮助您专注于链接。

他真的很期待这个。

你注意到我的发音了吗？我们去听他做。

转发至此。

转发至此。转发至此。转发至此。

这真的很不清楚，不是吗？

转发至此。

我们有一个以 D 结尾的单词。通常当它后面跟着单词“to”时，我们只是把 T 放在一起

，我们只是将 schwa 连接到末尾。转发至此。这就是他正在做的事情。

转发至此。转发至此。转发至此。 TH，超级不清楚。转发至此。这这这这这。

转发至此。

所以如果你只听最后三个词，听起来很不清楚，但在整个短语的上下文中

，我不会注意到它是不清楚的。只有在隔离的时候。

所以当你把这些不清楚的单词或音节放在所有事物的上下文中时，

它们听起来不再不清楚，它们听起来就像句子自然节奏的一部分。

转发至此。

我很感激。

这句话中我们最重读的音节是什么？

我很感激。

我同意——我很感激。绝对是“前”，你甚至可以看到她的眼睛在那个音节上睁得更大一点。

我很感激。

而这几个字，真的很顺利的连在一起。 I a– AI 双元音，当这个词连接到

以元音或双元音开头的词时，你会感觉它是以 Y 开头的。滑音辅音

可能会帮助你更顺畅地连接两个词。我欣赏——欣赏

——带有第二个音节重音的四音节词。这个C是SH音。嘘——感激——感激。

我们有一个停止 T，因为下一个单词以辅音开头。感谢。

她也在思想组的末尾做了一个停 T。下一个单词也

以辅音开头。欣赏

我欣赏这一点。

但是，嗯。

但是——但是——又是一站T。但是，嗯。

但是，嗯。但是，嗯。感谢。但是，嗯。

我不能离开。

我不能离开。我不能离开。所有这些话对他们来说都有一点压力的感觉。

我不能离开。

所以他的雇主告诉他不要在没有她的情况下离开。所以他不会拒绝。

他说，好吧，那我等着。我不能离开。我不能离开。让我们看看这里的 N 撇号 T 收缩。

你觉得它的发音如何？

我不能离开。

非常非常微妙的 T。我不确定我是觉得它是停止还是完全下降。

我不能离开。我不能离开。我不能离开。

我不能离开。

它几乎听起来下降了。那么如果你放弃T，can和can’t有什么区别？

区别在于元音的发音。

如果是can这个词，元音将被简化为schwa，它会是kin，

因为当它不是句子中唯一的动词时，这就是我们用can做的事情。我可以离开了。我可以离开了。

现在，can有can，can，can的感觉。但是当元音感觉更完整时，我可以离开。

我可以一个一个一个，然后我们知道它不能。所以这很棘手，因为我们觉得 T 是

这两个词之间的区别，但实际上，在发音方面，我们并没有真正听到完整的 T。

几乎永远不会用真正的 T 发音。也许是停止 T，也许一个下降的 T，

几乎从来不是一个真正的 T。所以，can 和 can’t 之间的区别更多地在于元音而不是 T，信不信由你。

我可以离开了。就是这个词，可以，可以。我不能离开。我不能离开。我不能离开。

我不能离开。就是这个词。更多的是压力的上下形状。

我不能离开。

所以我会在街上的车里。

所以我会有一点压力。所以我会在街上的车里。

停止 T。

所以我会在街对面的车里。

所以我会在街上的车里。

所以我会，所以我会，一切都顺利地连接在一起。在购买双元音中，我与 AI 一起使用。

缩写“I will”有时发音为 aisle，结尾带有 L，但通常

听起来更像是 all 这个词，而不是 aisle, all, all, all, all be, all be。我会在我的车里。

我会在我的车里。

就在街上。

车对。这两个词连在一起，单R音。您无需尝试使其更长

以显示那里有两个 R。它可以只是一个 R 将它们连接在一起。车对。车对。停止 T，

因为下一个单词以辅音开头。车对。车就在街上。

车就在街上。

就在街上。

呃，请告诉他。

呃，呃，呃。再一次，那个思考的元音，呃，就像黄油一样。我觉得每种语言

在思考时都有自己的声音。嗯嗯，真的很开放，很放松。那是美式元音。呃。

呃，呃，呃，请告诉他。

请告诉他。请告诉他。大部分压力都在请，她真的很想强调这一点。

请告诉他。当我们往下走时，另外两个词进来了。我们确实有

一个真正的 T intell 因为它以一个重音词开头，即使它不像 please 那样重音。

请告诉他。你注意到我在用 H 做什么了吗？她放弃了H，不是吗？

在他、她、他的等词中去掉 H 是很常见的。请告诉他。告诉他。嗯，嗯，嗯，

所以不是他，嗯，嗯，嗯，嗯，嗯，我可能会用施瓦写那个。请告诉他。

请告诉他。

谢谢你。

谢谢你。谢谢你。因为她还没有完成而提高音调，这不是结束。

她不只是想让他被告知谢谢。谢谢你。

谢谢你。

但不，谢谢。

但不，谢谢。不，谢谢。然后这在音调上下降了。谢谢你。

向上的语调表明我们还没有完成。谢谢，但不谢谢。

这就像拒绝某事的礼貌方式。谢谢，但不用谢。我很好。谢谢，但不谢谢。

谢谢，但不谢谢。

谢谢你。这是一个艰难的词。我们有清音 TH，她并没有说得很清楚，

尤其是第一次。谢谢你。谢谢你。谢谢你。

谢谢你。 K 连接到 U 双元音。谢谢你。谢谢你。

那里的元音是什么？它是 AA，就像在 bat 中一样，然后是 NG 声音。

“thank”中的 N 不像 N 那样在嘴的前面，而是像 NG 那样在嘴的后部。吴——

谢谢。

谢谢你。

所以当 AA 后面跟着 N 时，它并不像一个 AA。它变得更像是一个 AY 双元音，就像在说这个词中一样。

塔——那——谢谢。谢谢，但不谢谢。但是，停止 T，因为下一个单词以辅音开头。

谢谢，但不谢谢。

然后他说，呃，或者可能是但是，我不确定，它非常快。呃。呃。呃。呃。

呃。
好吗？

好的？好的？好的？

然后她说好这个词，她丢掉了第一个音节，这很常见。凯凯凯凯凯凯凯凯凯凯凯凯凯凯凯凯凯凯凯凯凯凯凯凯凯凯凯凯凯凯凯凯凯凯凯凯凯？音高上升。

好的？好的？

好像在说好吗？你会为我做这个吗？好的？好的？

好的？好的？

好的？就这么说吧。

现在这最后一句话。让我们听它，并真正尝试注意语调。

这里最强调的词是什么？

就这么说吧。

就这么说吧。 “说”字。所以她一开始真的很强调这一点，

然后其他的词就下来了。就这么说吧。

停止T。就这样说吧。

就这么说吧。

好的，我们也有一个停止 T，说它，因为下一个单词以辅音开头。

刚才的 T 完全去掉了，因为下一个词以 L 开头，它是一个簇的一部分，

就这样说吧。你能做到那么顺利吗？

当您使用慢动作音频时，请以慢动作重复。

感受单词之间的粘性。就这么说吧。

就这么说吧。

让我们再听一遍整个对话。

你好，艾莉。
你好。

我是菲尔。我们昨晚认识的？

是的。我记得……
杰克派我来接你，带你去看演出。

哦。天哪。嗯，但是，我得——，我得工作，我——，不能去。

他真的很期待这个。

我很感激。但是，嗯。

我不能离开。所以我会在街上的车里。

呃，请告诉他：谢谢，但不，谢谢。

呃……
好吗？就这么说吧。

现在对于有趣的部分，您将查看我们一起记录的笔记，并且您将循环听到对话的一部分

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。也许是这样，先生。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，这样当你看到这一点时

，你就会重复它。也许是这样，先生。

那是《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。

您还将有机会以慢动作聆听和重复。

如果您是初学者，或者您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。

这就是要改变你说话的方式。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，所以你在谈话时不需要考虑太多，

你可以专注于单词而不是表情或发音。别忘了，这是一个系列的一部分，

整个夏天，13 个视频 13 个电影场景，每一个都去看看，每次都能学到新东西。

我每周二都会制作新的英语视频，我希望你能再次回到这里。

请订阅通知并立即通过此视频继续学习。

如果您喜欢这个视频，请与朋友分享。就是这样，非常感谢您使用 Rachel 的英语。