Fast English Learn English With The Movie VENOM Learn to Speak with Movies

You can understand Americans effortlessly and speak very natural English

when you study the way we’re going to today.

We’re going to study English with the movie Venom, and look at all the things that make spoken English difficult.

Linking, reductions, changing the sounds of a word.

When you study these things and you know them,

you’re going to be so much more comfortable and confident speaking English.

Study like this and you’re going to be able to understand American movies and TV without subtitles.

You’re a good person, Annie.

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 new,

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.

You’re in luck, I’ve decided to work pro bono.

I’m joining the public defender’s office.

You’re a good person, Annie.

What about you? What are you going to do?

Uh, the network asked me to bring the show back. Uh, they want to start with a piece on Drake.

Oh, when? Really? So-what did you say?

Uh, I’m not, I’m not into it.

I want to concentrate on the written word.

And now, the analysis.

You’re in luck, I’ve decided to work pro bono.

You’re in luck– You’re in luck– So if the melody starts lower, you’re in luck–

it goes up for in, and comes back down as she finishes the word luck.

You’re in luck– you’re in luck– And everything links together, doesn’t it?

There are no breaks, so we have this smooth change in pitch, this up down shape.

See if you can imitate that. We want a lot of smoothness in American English.

You’re in luck–

This word ‘you are’ is not pronounced you’re, but it’s: yer yer, she reduces it.

That’s the common pronunciation.

You can try to make it with no vowel: you’re, you’re, just a Y sound and an R sound:

you’re, you’re, you’re, you’re in luck, you’re in luck.

You’re in luck, you’re in luck.

You’re in luck, I’ve decided to work pro bono.

Luck, I’ve– luck, I’ve– ki’ve– ki’ve– ki’ve–

The K sound links right into the next word: I’ve with the AI diphthong, luck I’ve– luck I’ve-

Luck, I’ve–

decided to work pro bono.

That word is unstressed. I’ve decided– we have some of that up down shape there.

I’ve decided to work pro– pro bono.

So some stress on pro, and also on bo, on pro, pro, it’s going up, pro bono.

So we have three letters o there: pro bono, and they’re all pronounced with the OH diphthong, oh, oh.

One mistake my students make sometimes is they’ll say: oh, and they don’t change the lip position,

oh, oh, we do need the change in the position, we go from more relaxed in the first sound,

to more rounded in the second sound, and that change is important. Pro bono. Pro bono.

I’ve decided to work pro bono.

I’ve decided to work- decided– decided– decided–

So the first syllable, said very quickly, de, de, and the last syllable said very quickly, ed, ed.

Decided. Decided. Decided. Uhhhh. The stress is really on that middle syllable. I’ve decided. I’ve decided.

I’ve decided–

Decide. So right from the D into a true T sound.

She wouldn’t have to do that. It’s common to drop it when the first sound is a D, the sound before is a D,

decided to–, decided to– and just make it a schwa. But she does make a true T and then a schwa.

Decided to, decided to, decided to.

The important thing is that the vowel here is the schwa, and it’s said very quickly.

It is unstressed. Decided to. I’ve decided to.

I’ve decided to–

to work pro bono.

Decided to work pro bono. Work also said pretty quickly. To work, to work, to work, to work.

This is a tricky word because it has the R vowel in it. Work.

One thing that can mess up my students is when they try to put a vowel in work, something like that.

It’s just W consonant, think of there being no vowel, R sound, work, work,

you don’t need much jaw drop for that. Work. Work.

See what happens for you if you take the vowel out. Work. Work.

Work–

pro bono.

I’m joining the public defender’s office.

What are her most stressed syllables in this next sentence?

I’m joining the public defender’s office.

I’m joining– I’m joining the public defender’s office.

So: join, pu–, fen, and ah–, all have the most stress.

The word I’m, I’m, AI diphthong, M. It’s not fully pronounced here, I don’t think. What do you think?

I’m joining–

I don’t really hear the diphthong. I just hear the M consonant before the J.

I’m joining, mmmm, I’m joining, I’m joining.

It’s a fairly common reduction. I’m joining. I’m joining.

I’m joining–

public defender’s office.

So we have our stressed syllable join, then two unstressed syllables.

Ing the, ing the, ing the, ing the. I’m joining the public—

I’m joining the public—

Does it feel unnatural for you to make the pitch go up and down like this?

It might feel very strange to do that depending on your native language.

But that really helps with the native speakers understanding you because we’re so used to that.

It might feel silly to you, but it’s how we use the language. So don’t be afraid to really change your pitch.

Joining the public. And joining the public. And joining the public.

That’s what makes English clear to us. So challenge yourself to do that even if it feels silly.

I’m joining the public—

I’m joining the public defender’s office.

Public de– So this ends in a K sound.

I don’t hear it released. I don’t hear: public, public, public defenders.

I hear public de– So the sound stops. She puts her tongue up into position for the K.

Public de– but then rather than just releasing a puff of air, she goes right into the D sound.

Public defender’s office.

This here, apostrophe S showing possession, the office of the defender, of the public defender, is a Z sound.

Defender’s office. And it links right into the vowel.

Defender’s office.

Vowel can either be the AW as in law vowel or the AH as in father vowel. Defender’s office.

Defender’s office.

You’re a good person, Annie.

How does he stress this? What words seem the most clear to you?

You’re a good person, Annie.

Good, per–, ann– that’s what I hear. You’re a good person, Annie.

You’re a good person, Annie.

Good person, Annie.

You’re and a, both said very quickly.

You’re a– you’re a– you’re a– you’re a—not: you’re a– you’re a– you’re a– you’re a—

Very relaxed face. Very little jaw drop. You’re a– you’re a– you’re a– you’re a–

I can do that without moving my jaw or my lips or my cheeks at all. It’s just the tongue.

You’re a– you’re a– you’re a– you’re a– you’re a—

See if you can do that. That kind of simplification of mouth movement is really important

to help you make these unstressed syllables very fast, to give them an unstressed feeling.

You’re a– you’re a– you’re a good person.

You’re a good person.

Good, good, good, good person. You know, even though I wrote this as stressed,

and I do think it has a bit of a stressed feel, it’s actually pretty short, isn’t it? Good, good, good, good, good.

There’s not much of a vowel there.

This is the push vowel, uh, sugar, good,

but it’s not good, it’s good, good, good, good, good person, good person.

Good person–

Annie.

Good person, Annie. Nannie. The ending N links right onto the vowel AH.

This is what we want, we want this kind of linking. Good per–

these two sounds with no break in between.

You’re a– linked together: you’re a good person, Annie.

Everything links together so smoothly.

You’re a good person, Annie.

With this word, person, person, make sure you don’t put a OH sound in there. That’s the schwa.

Schwa N. When those two go together, you don’t really try to make a vowel at all.

Person, son, son. Right from S into N. Person. Person, Annie.

Person, Annie.

What about you? What are you going to do?

So these are two different questions but she doesn’t put any break in between. They link together.

What are our stressed words here?

What about you? What are you going to do?

What about– A little stress on the question word. What about you?

What are you going to do?

So those are our peaks of stress, I would say. What about you?

What about you?

What about you? What about– What about– What about–

She says this really quickly, doesn’t she? She links the two words together with a flap, wha-dadadadadada.

What about– What about–

We can do that sound more quickly than a true T. What about– What about– What about–

And that’s why it gets changed. We… you would never hear a native speaker do that.

What about– What about– What about– What about—Rarara—

Just the tongue bouncing on the roof of the mouth. What about–

The first sound there is the schwa.

What a– What a– What a—What about—What about you? About–

Stop T, so again, not about, about, about you, but a stop T, about, about, about you, about you.

What about you?

By changing those T pronunciations, we can say them more quickly,

and we can make the whole line more smooth

without stopping the air with a stop and release. That’s what we want.

What about you?

What are you going to do?

Said really quickly, isn’t it? There’s a little bit of up down shape, a little bit more length on what and you,

but then really, most of the stress on do.

What are you going to do? What are– What are—

Just like here, what about, with the flap T, here we also have a flap T. What are— What are—

The word are reduces to schwa R.

What are— What are— What are— What are—what are you– what are you– what are you–

Everything links together so smoothly, doesn’t it?

What are you going to do?

Going to, she pronounces that as gonna, very common reduction.

What are you going to do?

Uh, the network asked me to bring the show back.

Uh—uh– this is the sound we make when we’re thinking.

What is the sound in your language that you make?

Uh– it’s very relaxed, open sounds, the uh as in butter vowel, uh—uh—

Uh— uh—

Uh, the network asked me to bring the show back.

The network asked me to bring the show back.

I feel that those have that up down shape, the higher pitch,

and therefore feel more stressed. Let’s look at the other syllables, the other words.

The network asked me to bring the show back.

The— almost always unstressed, said quickly. The network, the network, network.

Do you notice that’s a stop T? That’s because the next word is a consonant.

The network—

The network asked me to bring the show back.

The network asked– I don’t really hear a released K here. If anything, I feel like it sounds almost like a light G.

The network asked– the network asked—kasked– kasked– kasked– super light though, do not say: gassed.

The network asked– The network asked–

Actually, I think it’s going to work for you to think of it as a K or G. Either one, as long as it’s extremely light,

and it links right into the vowel.

Kasked– kasked– kasked—

The network asked–

The ED ending is a T when the sound before is unvoiced. The K is unvoiced, so the ED ending here is a T.

The network asked–

The network asked me to bring the show back.

So let’s listen to: asked me to– Do you hear the T in asked?

Asked me to–

Nope. I don’t hear it. You know, it’s common to drop the T when it comes between two other consonants.

Here, it comes between K and M. That sound is totally dropped. Asked me to– asked me to–

Asked me to–

Do you hear the K?

Asked me to—

No. The K is also dropped.

Asked me to–

So what is happening here?

In the word ask, we have the AH vowel, S consonant, K consonant.

When we add the T, well, first, I should say ask. Did you ask him? I’ll ask you later.

We would pronounce both of those sounds. But in the past tense, when we add the T.

I asked you to do that yesterday. Asked. Asked. When we add the T, we tend to drop the K sound.

Here, I’m linking into a word that begins with another consonant, the M,

and I often, it is the habit to drop the T very often between two other consonants.

So that also gets dropped.

So now it’s just as—as– ask me– ask me– ask me to—

By dropping some of those consonants, we can link more smoothly.

So just know asked, past tense, we’re going to drop that K.

Pretty much always. Asked. Asked. Asked.

The T, we might also drop that T if the next word begins with a consonant like here, ask me, ask me.

Asked me– asked me– asked me to bring the show back.

Asked me to bring the– asked me to– me to– me to– me to—

The word to gets changed, this becomes a flap.

I write that as a D. It sounds just like a d between vowels. Me to– me to– me to—

And the OO vowel changes to the schwa, uh, uh, me to— asked me to– asked me to– asked me to bring—

Asked me to bring—

Asked me to bring the show back.

Bring the– little unstressed word, lower in pitch.

Bring the show back. Show back. And then the word back, just comes in on the downward pitch,

coming down from that peak in show. Show back.

Bring the show back.

Uh, they want to start with a piece on Drake.

They want to start with a piece on Drake.
Start, piece, Drake.

I hear those as our stressed syllables. The other words said pretty unclearly. Uh, they– uh, they– uh, they–

Uh, they want to start with a piece on Drake.

This utterance, this thinking vowel goes right into the word they. This TH pretty unclear.

Uh, they– uh, they– uh, they– uh, they– uh, they–

Want to– becomes wanna.

So all of these unstressed words are pretty unclear. Uh, they want to– uh, they want to– uh, they want to—

Uh, they want to—

Uh, they want to– Can you do that so simply, barely moving your mouth?

Pay attention. Pretend that your cheeks are frozen.

uh, they want to— uh, they want to— uh, they want to—

What can you do with frozen cheeks? How much can you simplify those mouth movements

so that those words all feel really unstressed matching the way he does it?

Uh, they want to—

Uh, they want to start with a piece on Drake.

Start with a piece– start with a piece– I love that rhythm. Stressed, then to unstressed, with a, with a, with a, with a, and then stressed. Dadadada.

Start with a piece– start with a piece– Think about that rhythm while you’re doing this exercise.

Start with a piece. Start, stop T,

start with a, with a, with a, with a. Low in pitch, flat, said very quickly, linking together.

Start with a piece on—

I barely even hear the TH. Start with a, with a, with a, with a, with a.

I’m going to say that that’s like the voiced TH, that’s unstressed, where the tongue tip doesn’t come through.

It just comes to the back of the teeth. That’s going to let you say that as quickly as he does.

And that sound links together right in with a schwa. With a, with a, with a, with a, start with a piece.

Start with a piece on—

Start with a piece on Drake.

Piece on Drake. And then we have stressed, unstressed, stressed. And they link together.

The S feels like it begins the next word.

Piece on, son son son. Piece on Drake.

Piece on Drake.

Oh, when? Really? So—what did you say?

Oh, when? Really? Oh– Up down shape. Oh, when? Really?

Very quiet and a little bit high, a little bit breathy.

Oh, when? Really? Not super well pronounced.

I think she’s a little surprised.

Oh, when? Really?

Oh, when? Really? So—what did you say?

So– she doesn’t really say so with the OH diphthong it’s more like suh suh,

I would maybe write that with a schwa. Suh– she doesn’t fully pronounce it. Just like these words were.

She was sort of saying things without saying them to him, they were just her reaction.

Here she’s putting together what she wants to say. So–

and here’s what she wants to say. She wants to put a question out there.

So–

What did you say?

What did you say? What did you say? What, the question word, and say have our stress.

What did– so we have some interesting things happening here with the links.

When a word ends in T and the next word begins with a D, like:

what did, it’s not uncommon to just drop that T sound and link it in.

Wha—wha—what did—what did– So I would probably write that W, uh as in butter. Wuh—duh–

and it links right into the D, which is a flap because it’s between two vowels.

What did— what did— what did— Now what happens with the D and the Y?

What did you say?

What did you—dya—dya– the D when it’s followed by you or your can be turned into a J sound,

JJ– and that’s what she does. She reduces the vowel in you to the schwa. So what did you—becomes:

what didya– what didya– what didya–

Do you hear how flat in pitch that is? Unstressed, less clear, quieter,

What did you— What did you— What did you say?

All linking together smoothly and the schwa linking right into the S of say. What did you say?

What did you say?

Uh, I’m not—

Uh—uh—Again, that thinking vowel. Uh– I’m not, I’m not, stop T.

More stress on I’m, I’m not, and then not comes in in the downward pitch. I’m not– uh, I’m not—

Uh, I’m not—

Uh, I’m not, I’m not into it.

I’m not into it. I’m, in, the rest, a little bit unstressed. Dadadada– I’m not into it.

I’m not into it.

I’m not in– not in– not in– I hear those two words linking together with a flap.

M right into N with no break. I’m not in– what about this T?

I’m not into it.

I’m not into it. Into, into–

That gets turned into a D. Into– into– into–

There are a couple ways that we can reduce this word by changing a sound. We can say into,

we can also say into. I’ve heard both of those.

So he’s doing: into, into, into, he’s keeping the vowel OO. Into, into,

I’m not into it. Into it. Into–

and then the OO vowel links very smoothly into the IH as in sit vowel followed by a stop T. I’m not into it.

I’m not into it.

So smooth, those changing those true T pronunciations into flaps or stops

really helps us smooth out English and we love that smoothness.

I think that’s part of what makes it really hard for people to understand when they’re learning English,

is everything is so smooth, it glides together so smoothly.

That is just one of the characteristics of American English.

I can totally understand how someone would listen to this phrase:

I’m not into it.

And not understand what they’re saying.

I’m not into it.

I want to concentrate on the written word.

What are our most stressed syllables here?

I want to concentrate on the written word.

I think those are our peaks of stress. I want to– how are those words pronounced?

I want to— I want to— I want to—

I want to– I want to– Said so fast. Want to—becomes wanna. I want to—

I want to— I want to— I want to— I want to— I want to— So fast, isn’t it? Try that.

I want to— I want to—

I want to

That’s really great contrast with the stress syllable con–. I wanna con–

we need that contrast in American English to be clear. I wanna con—

I want to con—

Concentrate. Cen—cen– So this C is an S sound. Concentrate. Trate, trate, trate, concentrate.

Concentrate–

on the written word.

He could have connected those with a flap T. Concentrate on– concentrate on–

but I actually don’t hear that. I hear him making a stop and a little lift before moving on.

Concentrate on the written word. On the, on the, on the, on the, flat and low in pitch.

Concentrate on the written word.

On the written word. Writ—nn– what’s happening here? Wri– the W is silent in this word.

Wri– Oops, I totally wrote that wrong, didn’t I?

We have the R consonant, IH vowel and then we have T schwa N.

And in this pattern T schwa N, the T is a stop T. Written. Written. Written.

So you put your tongue up into position for the T, you stop the air, writ—nn.

And then you just make an N sound.

You don’t need to move your tongue because your tongue is already up at the roof of the mouth

for the T position. Written. Written. Written word.

Written word–

Word. Word. So this is just like work. The first sounds can be a little bit tricky,

but you don’t really want to try to make a vowel because this vowel R combination just sounds like the R sound.

So it’s ww—rr—dd, word, word, word, not much jaw drop needed for that sound, word.

Word.

And everything in that phrase links together really smoothly.

N right into W, no breaks, no leaps in pitch, just uhhh, this constant flow of sound.

Concentrate on the written word.

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

You’re in luck, I’ve decided to work pro bono.

I’m joining the public defender’s office.

You’re a good person, Annie.

What about you? What are you going to do?

Uh, the network asked me to bring the show back. Uh, they want to start with a piece on Drake.

Oh, when? Really? So—what did you say?

Uh, I’m not, I’m not into it.

I want to concentrate on the written word.

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.

当您按照我们今天的学习方式学习时，您可以毫不费力地理解美国人并说非常自然的英语

。

我们要通过电影毒液学习英语，看看所有让英语口语变得困难的事情。

链接，减少，改变单词的声音。

当你学习这些东西并了解它们时，

你会变得更加自在和自信地说英语。

像这样学习，你将能够在没有字幕的情况下理解美国电影和电视。

你是个好人，安妮。

我们整个夏天都在这样做，我们从六月开始，一直到八月。

坚持我，每周二。

它们都是很棒的场景，还有很多东西要学

，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，或者你学到了一些新东西，

请喜欢并订阅通知。

您将观看该剪辑，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

，练习重复它，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。

你很幸运，我决定无偿工作。

我要加入公设辩护人办公室。

你是个好人，安妮。

你呢？你会怎样做？

呃，网络让我把节目带回来。呃，他们想从关于 Drake 的文章开始。

哦，什么时候？真的吗？所以你刚才说什么？

呃，我不，我不喜欢它。

我想专注于书面文字。

现在，分析。

你很幸运，我决定无偿工作。

你走运了——你走运了——所以如果旋律开始变低，你走运了——

它会上升，当她完成运气这个词时又会下降。

你走运了——你走运了—— 一切都联系在一起，不是吗？

没有休息，所以我们有这种音高的平滑变化，这种上下形状。

看看你能不能模仿。我们希望美式英语更加流畅。

你走运了——

“你是”这个词不发音为you’re，但它是：yer yer，她减少了它。

这就是常见的发音。

你可以试着不带元音：你是，你是，只是一个 Y 音和一个 R 音：

你是，你是，你是，你很幸运，你很幸运 .

你走运了，你走运了。

你很幸运，我决定无偿工作。

Luck, Ive–luck, Ive– ki’ve– ki’ve–

ki’ve- K 音直接连接到下一个词：I’ve with the AI diphthong, lucky I' ve– 幸运我已经-

幸运，我-

决定无偿工作。

这个词不重读。我已经决定——我们在那里有一些向上向下的形状。

我决定无偿工作。

所以对 pro 有一些压力，对 bo 也有一些压力，对 pro，pro，它正在上升，无偿。

所以我们在那里有三个字母 o：pro bono，它们都用 OH 双元音发音，哦，哦。

我的学生有时犯的一个错误是他们会说：哦，他们不改变嘴唇位置，

哦，哦，我们确实需要改变位置，我们从第一个声音更放松，

到更圆润在第二个声音中，这种变化很重要。无偿。无偿。

我决定无偿工作。

我已经决定工作——————-

所以第一个音节说得很快，de，de，最后一个音节说得很快，ed，ed。

决定了。决定了。决定了。嗯。重音确实在那个中间音节上。我决定了。我决定了。

我已经决定——

决定。这样就从 D 音变成了真正的 T 音。

她不必那样做。当第一个声音是 D 时，通常会放弃它，之前的声音是 D，

决定 -，决定 - 并使其成为 schwa。但她确实做了一个真正的T，然后是一个schwa。

决定，决定，决定。

重要的是这里的元音是 schwa，而且说得很快。

它没有压力。决定。我已经决定了。

我决定——

无偿工作。

决定无偿工作。工作也说得很快。工作，工作，工作，工作。

这是一个棘手的词，因为其中包含 R 元音。工作。

让我的学生感到困惑的一件事是，当他们试图在工作中使用元音时，类似的事情。

它只是 W 辅音，想想没有元音，R 音，工作，工作，

你不需要太多的下巴。工作。工作。

看看如果你把元音去掉会发生什么。工作。工作。

工作——

无偿。

我要加入公设辩护人办公室。

在下一句中，她最重音的音节是什么？

我要加入公设辩护人办公室。

我要加入——我要加入公设辩护人办公室。

所以：join、pu–、fen、ah–，都是压力最大的。

I’m, I’m, AI diphthong, M 这个词在这里没有完全发音，我不认为。你怎么认为？

我要加入——

我真的听不到双元音。我只是在 J 之前听到 M 辅音。

我正在加入，嗯，我正在加入，我正在加入。

这是一个相当普遍的减少。我要加入。我要加入。

我要加入——

公设辩护人办公室。

所以我们有我们的重读音节连接，然后是两个非重读音节。

ing the, ing the, ing the, ing the。我要加入大众——

我要加入大众——

你这样让音高涨跌不自然吗？

根据您的母语，这样做可能会感觉很奇怪。

但这确实有助于母语人士理解你，因为我们已经习惯了。

你可能会觉得很傻，但这就是我们使用这种语言的方式。所以不要害怕真正改变你的音调。

加入大众。并加入公众。并加入公众。

这就是让我们清楚英语的原因。所以挑战自己去做，即使感觉很傻。

我加入公众——

我加入公设辩护人办公室。

Public de– 所以这以 K 音结束。

没听说放出来我没有听到：公众，公众，公设辩护人。

我听到公共声音——所以声音停止了。她把她的舌头伸到 K 的位置上。

公共 de– 但随后她不只是释放一股空气，而是直接进入 D 音。

公设辩护人办公室。

这里，撇号 S 表示占有，辩护人的办公室，公设辩护人的办公室，是一个 Z 音。

后卫办公室。它直接链接到元音。

后卫办公室。

元音可以是法律元音中的 AW，也可以是父亲元音中的 AH。后卫办公室。

后卫办公室。

你是个好人，安妮。

他如何强调这一点？你觉得最清楚的词是什么？

你是个好人，安妮。

好，每-，安– 这就是我听到的。你是个好人，安妮。

你是个好人，安妮。

好人，安妮。

你和a，都说得很快。

你是——你是——你是——你是——不是：你是——你是——你是——你是——

非常放松脸。很少下巴。你是 - 你是 - 你是 - 你是 -

我可以做到这一点，而无需移动我的下巴、嘴唇或脸颊。这只是舌头。

你是——你是——你是——你是——你是——

看看你能不能做到。这种口部动作的简化

对于帮助你快速地使这些非重读音节变得非常重要，给它们一种非重读的感觉非常重要。

你是——你是——你是个好人。

你是个好人。

好，好，好，好人。你知道，尽管我写这篇文章是为了强调，

而且我确实认为它有一点压力的感觉，但实际上很短，不是吗？好，好，好，好，好。

那里没有太多的元音。

这是推元音，呃，糖，

好，但不好，好，好，好，好，好人，好人。

好人——

安妮。

好人，安妮。保姆。结尾的 N 直接连接到元音 AH。

这就是我们想要的，我们想要这种链接。很好——

这两个声音之间没有中断。

你是一个——联系在一起的人：你是个好人，安妮。

一切都如此顺利地联系在一起。

你是个好人，安妮。

用这个词，人，人，确保你不要在里面放一个 OH 音。那是施瓦。

Schwa N. 当这两个一起出现时，你根本不会尝试发出元音。

人，儿子，儿子。从 S 到 N. 人。人，安妮。

人，安妮。

你呢？你会怎样做？

所以这是两个不同的问题，但她没有在两者之间设置任何中断。它们联系在一起。

我们这里的重读词是什么？

你呢？你会怎样做？

怎么样 - 对问题词有点压力。你呢？

你会怎样做？

所以这些是我们的压力高峰，我会说。你呢？

你呢？

你呢？怎么样——怎么样——怎么样——

她说的很快，不是吗？她将这两个词用一个翻盖连接在一起，wha-dadadadadada。

怎么样 - 怎么样 -

我们可以比真正的 T 更快地做到这一点。怎么样 - 怎么样 - 怎么样 -

这就是它被改变的原因。我们……你永远不会听到母语人士这样做。

怎么样——怎么样——怎么样——怎么样——拉拉拉——

只是舌头在上颚弹跳。怎么样

第一个声音是 schwa。

什么 - 什么 - 什么 - 怎么样 - 你呢？关于–

停止T，所以再次，不是关于，关于，关于你，而是停止T，关于，关于，关于你，关于你。

你呢？

通过改变那些T的发音，我们可以更快地说出它们，

并且我们可以使整条线更流畅，

而不用停止和释放空气。这就是我们想要的。

你呢？

你会怎样做？

说得真快，不是吗？有一点向上向下的形状，关于什么和你的长度有点长，

但实际上，大部分压力都在做。

你会怎样做？什么是——什么是——

就像这里，怎么样，有襟翼 T，这里我们也有一个襟翼 T。什么是——什么是——

这个词是 schwa R。

什么是——什么是——什么是—— 你是什么——你是什么——你是什么——你是什么——

一切都如此流畅地连接在一起，不是吗？

你会怎样做？

Going to，她发音为 going to，非常常见的减少。

你会怎样做？

呃，网络让我把节目带回来。

呃——呃——这是我们在思考时发出的声音。

你用你的语言发出什么声音？

呃——非常轻松，开放的声音，呃，就像黄油元音一样，呃——呃——呃——呃——

呃，网络让我把节目带回来。

网络要求我把节目带回来。

我觉得那些有向上向下的形状，更高的音调

，因此感觉压力更大。让我们看看其他音节，其他单词。

网络要求我把节目带回来。

The——几乎总是没有压力，快速地说。网络，网络，网络。

你注意到那是一个停止T吗？那是因为下一个词是辅音。

网络——

网络——网络让我把节目带回来。

网络问——我在这里没有真正听到发布的 K。如果有的话，我觉得它听起来几乎像一个轻

G。网络问 - 网络问 - kasked - kasked - kasked - 虽然超轻，但不要说：gassed。

网络问– 网络问–

实际上，我认为你可以把它想象成 K 或 G。任何一个，只要它非常轻，

并且直接连接到元音。

Kasked– kasked–

kasked- 网络问

– 网络问

– 当前面的声音是清音时，ED 结尾是T。 K 是清音的，所以这里的 ED 结尾是

T。网络要求——网络要求——网络要求我把节目带回来。

所以让我们听听：问我 - 你听到问的 T 吗？

让我——

不。我听不见。你知道，当它出现在其他两个辅音之间时，通常会去掉 T。

在这里，它介于 K 和 M 之间。那个声音完全被丢弃了。让我——让我——让我——让我——

让我——

你听到K了吗？

让我——

不。K也被丢弃了。

让我——

让

我—— 让我——

那么这里发生了什么？

在单词 ask 中，我们有 AH 元音、S 辅音、K 辅音。

当我们添加 T 时，首先，我应该说问。你问他了吗？我稍后再问你。

我们会发出这两种声音。但在过去式中，当我们添加 T 时。

我昨天要求你这样做。问。问。当我们添加 T 时，我们倾向于删除 K 声音。

在这里，我连接到一个以另一个辅音 M 开头的单词，

而 I 通常，在其他两个辅音之间经常放弃 T 是一种习惯。

所以这也被丢弃了。

所以现在就像-as-as-as-as-as-as-as-as-as-ask me–ask me to-

通过去掉一些辅音，我们可以更顺畅地连接。

所以只要知道问，过去时，我们会放弃那个K。

几乎总是。问。问。问。

T，如果下一个单词以这里的辅音开头，我们也可能会删除那个 T，问我，问我。

问我——问我——让我把节目带回来。

让我带来–让我到–我到–我到–我到-

改变了这个词，这变成了一个襟翼。

我把它写成 D。听起来就像元音之间的 d。我到–我到–我到

OO 元音变为 schwa，呃，呃，我到 - 要求我到 - 要求我到 - 要求我带来 - 要求我带来 - 要求我

带来——

让我把节目带回来。

带上– 没有重读的小词，音调更低。

把节目带回来。显示回来。然后回来的话，就在向下的音调上，

从表演的那个高峰下来。显示回来。

把节目带回来。

呃，他们想从关于 Drake 的文章开始。

他们想从关于德雷克的文章开始。
开始，片断，德雷克。

我听到这些是我们的重读音节。其他的词说得很不清楚。呃，

他们——呃，他们——呃，他们——呃，他们想从关于 Drake 的文章开始。

呃，他们想从关于 Drake 的文章开始。

这个话语，这个思考的元音直接进入了他们这个词。这个 TH 很不清楚。

呃，他们–呃，他们–呃，他们–呃，他们–呃，他们–

想要–变成了想要。

所以所有这些不重读的词都非常不清楚。呃，他们想要–呃，他们想要–

呃，他们想要–呃，他们想要–

呃，他们想要– 你能那样做吗简单地说，几乎没有动你的嘴？

注意。假装你的脸颊被冻住了。

呃，他们想要—— 呃，他们想要—— 呃，他们想要——

冻僵的脸颊能做什么？你能在多大程度上简化那些嘴巴的动作，

让这些词都像他那样做的时候感觉真的很轻松？

呃，他们想要——

呃，他们想要从一篇关于德雷克的文章开始。

从一段开始——从一段开始——我喜欢那种节奏。重读，然后到非重读，with a, with a, with a, with a, 然后重读。达达达达。

从一段开始——从一段开始——在你做这个练习的时候想想那个节奏。

从一块开始。开始，停止T，

以a开始，以a，以a，以a开始。音调低，平，说得很快，连在一起。

从一段开始——

从一段

开始——从一段开始——

我什至几乎听不到TH。以一开始，以一，以一，以一，以一。

我要说的是，这就像浊音 TH，没有重音，舌尖不通过。

它刚到牙齿的后面。这会让你和他一样快地说出来。

这种声音与 schwa 紧密相连。 With a, with a, with a, with a, 从一块开始。

从一件作品开始——

从一件作品

开始——从一件关于德雷克的作品开始。

德雷克的一块。然后我们有压力，没有压力，有压力。他们联系在一起。

S 感觉就像它开始下一个单词。

加油，儿子儿子儿子。德雷克的一块。

德雷克的一块。

哦，什么时候？真的吗？所以你刚才说什么？

哦，什么时候？真的吗？哦 - 上下形状。哦，什么时候？真的吗？

很安静，有点高，有点呼吸。

哦，什么时候？真的吗？不是超级好发音。

我觉得她有点惊讶。

哦，什么时候？真的吗？

哦，什么时候？真的吗？所以你刚才说什么？

所以 - 她并没有真的用 OH 双元音这么说，它更像是 suh suh，

我可能会用 schwa 来写。苏——她没有完全发音。就像这些话一样。

她有点像在说些什么而不对他说，那只是她的反应。

在这里，她把她想说的话放在一起。所以

——这就是她想说的。她想提出一个问题。

所以你刚才说什么？

你说什么？你说什么？什么，疑问词和说有我们的压力。

发生了什么——所以我们在这里通过链接发生了一些有趣的事情。

当一个单词以 T 结尾，而下一个单词以 D 开头时，例如：

what did，只是去掉那个 T 音并将其连接起来并不少见

。Wha-wha-what did-what did- 所以我可能会写那个W，呃，就像黄油一样。呜——嗯

——它直接连接到 D，因为它在两个元音之间，所以它是一个襟翼。

发生了什么——发生了什么——发生了什么——现在 D 和 Y 发生了什么？

你说什么？

你做了什么 - dya - dya - D 当它跟着你时，或者你可以变成 J 声音，

JJ - 这就是她所做的。她将你的元音减少到 schwa。那么你是什么——变成了：

什么didya——什么didya——什么didya——

你听到音调有多平吗？没有压力，不那么清晰，更安静，

你做了什么——你做了什么——你说了什么？

所有这些都顺利连接在一起，schwa 直接连接到 S of say。你说什么？

你说什么？

呃，我不是——

呃——呃——再说一遍，那个会思考的元音。呃–我不是，我不是，停止T。

更多的压力在我身上，我不是，然后在向下的球场上没有进来。我不是——呃，我不是——

呃，我不是——

呃，我不是，我不喜欢它。

我不喜欢它。我，在，其余的，有点没有压力。达达达——我不喜欢它。

我不喜欢它。

我不在——不在——不在——我听到这两个词用一个襟翼连接在一起。

M 直接进入 N 没有中断。我不在——这个T呢？

我不喜欢它。

我不喜欢它。 Into,

into– 这变成了 D。 Into- into– into-

有几种方法可以通过改变声音来减少这个词。我们可以说成，

也可以说成。这两个我都听过。

所以他在做： into， into， into，他保持元音 OO。进入，进入，

我不喜欢它。进去。 Into–

然后 OO 元音非常顺利地连接到 IH，就像在坐元音后面跟着一个停止 T。我不喜欢它。

我不喜欢它。

如此流畅，那些将那些真正的 T 发音变成襟翼或停止的人

真的有助于我们平滑英语，我们喜欢这种流畅性。

我认为这是让人们在学习英语时真正难以理解的部分原因，

就是一切都那么顺利，衔接得那么顺利。

这只是美式英语的特点之一。

我完全可以理解有人会怎么听这句话：

我不喜欢它。

而且不明白他们在说什么。

我不喜欢它。

我想专注于书面文字。

我们这里最重读的音节是什么？

我想专注于书面文字。

我认为这些是我们的压力高峰。我想——这些词是怎么发音的？

我想要——我想要——我想要——

我想要——我想要—— 说得这么快。想要——变成想要。我想要——

我想要——我想要——我想要——我想要——我想要——这么快，不是吗？试试看。

我想要——我想要——

我想要

这与重读音节 con– 形成鲜明对比。我想反对——

我们需要美国英语中的这种对比才能清楚。我想骗——

我想骗——

集中注意力。 Cen——cen——所以这个C是S音。集中。喝，喝，喝，集中。

集中注意力——

写在文字上。

他本可以将那些与襟翼 T 联系起来。集中注意力——集中注意力——

但我实际上没有听到。我听到他停下来，稍微抬了抬，然后继续前进。

专注于书面文字。 On the, on the, on the, on the, 平的和低的音调。

专注于书面文字。

在书面文字上。令——nn——这里发生了什么？ Wri——W 在这个词中保持沉默。

Wri——哎呀，我完全写错了，不是吗？

我们有 R 辅音，IH 元音，然后我们有 T schwa

N。在这种模式 T schwa N 中，T 是停止 T。书面。书面。书面。

所以你把你的舌头放在T的位置，你停止空气，写-nn。

然后你只需发出 N 音。

你不需要移动你的舌头，因为你的舌头

已经在 T 位置的上颚。书面。书面。写的字。

文字——

文字。单词。所以这就像工作一样。第一个声音可能有点棘手，

但你真的不想尝试发出元音，因为这个元音 R 组合听起来就像 R 的声音。

所以它是 ww-rr-dd，单词，单词，单词，那个声音，单词不需要太多的下巴。

单词。

这句话中的所有内容都非常顺利地联系在一起。

从 N 到 W，没有中断，没有音高跳跃，只是 uhhh，这种持续不断的声音流。

专注于书面文字。

让我们再听一遍整个对话。

你很幸运，我决定无偿工作。

我要加入公设辩护人办公室。

你是个好人，安妮。

你呢？你会怎样做？

呃，网络让我把节目带回来。呃，他们想从关于 Drake 的文章开始。

哦，什么时候？真的吗？所以你刚才说什么？

呃，我不是，我不喜欢它。

我想专注于书面文字。

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。

尝试准确地模仿这一切，这样当你看到它时

，你就会重复它。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

学到新的东西。

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。