Learn English With Movies Antman And The Wasp

Today, you’re studying fast English by looking at the reductions , the linking, the melody,

the simplification that native speakers do when speaking English.

We’re going to be using the scene from the movie Ant Man and The Wasp.

When you study American English this way, and not the way you learned it in school,

or the way you learned from your book, your listening comprehension and your ability to sound natural

speaking English is going to improve dramatically.

Today, you’ll see what changes in someone’s rhythm when they’re insulting somebody.

We’re doing an in-depth analysis, studying the rhythmic contrast that gives American English its character.

And there’s going to be audio to train with at the end, so you can fully understand it,

and start building that habit of natural American English.

You’re the one who’s on the run from the FBI.

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.

Doctor, we need to find our lab.

Hope, I’d love to help you but I don’t have anything like the equipment you’re describing.

I told you, this is a waste of time. Come on, let’s go.

Don’t condescend, Hank. You’re the one who’s on the run from the FBI.

All because you had to grow to a size that finally fit your ego.

And now, the analysis.

Doctor, we need to find our lab.

So what’s the stress and melody of that phrase?

Doctor, doctor, that goes up. Doctor, we need to find our lab.

And then we have those three words that have a little bit of that up down shape

in the overall feeling of that phrase descending.

Let’s just listen to that melody again.

Doctor, we need to find our lab.

Now just do it with me on UH. Uhhhhh. Uhhh.

Can you make it that smooth when you put the words in?

That’s the goal.

And to do that, you might need to simplify things a little bit about how you pronounce words.

Doctor, we need to find our lab.

Doctor, we–

The R links right into the W with no break.

Do– that’s the AH as in father vowel,

the second O is the schwa.

So the R absorbs the schwa. You don’t need to try to make a vowel there.

Doctor. Doctor. Right from T into R. Doctor we–

Doctor we–

Doctor, we need to find our lab.

We need to find our–

So to and our, both lower in pitch, part of a valley, a little valley between those peaks of stress.

Need to– so they’re said more quickly, they’re lower in pitch,

and in order to do that, we make some reductions. So rather than saying need to, we say: need duh–

We need to–

Need to– So the word to gets reduced to just the schwa.

This can happen when the sound before is a D.

Need to-need to find–

And that schwa links the D and the F together so that there’s no break between these words.

Need to find our lab.

Then the word our is pronounced quickly. It’s more like: are, are. Find our, find our, find our lab.

Find our lab.

Hope, I’d love to help you but I don’t have anything like the equipment you’re describing.

So then he responds with a long thought group.

No breaks here, much longer than the first statement, isn’t it?

Isn’t this fantastic? I love doing these analyses with you.

You know, one of the things my students ask for in lessons is more idioms and slang.

And as you watch movies, you may find that there are words and phrases you understand,

but you don’t know the meaning of, you don’t get how they’re being used.

I’d like to talk about Cambly who’s sponsoring this video.

Cambly, it’s a platform, it’s an app that you can use to connect directly with teachers.

In Cambly, you can search on a specific topic like idioms and slang.

And you can find teachers who can teach specifically those kinds of lessons.

You can call someone right away, or click on their profile to learn more.

You can watch a video, read about them, and see their certifications.

Wouldn’t you like to have a conversation in English with one of these teachers right now?

To get a discount on an annual package, use rachel-english10 .

Thank you to Cambly for supporting this video and this channel

and for 32 percent off the annual lesson package, use rachel-english10.

Now, let’s get back to that analysis.

Hope, I’d love to help you but I don’t have anything like the equipment you’re describing.

So then he responds with a long thought group.

No breaks here, much longer than the first statement, isn’t it?

Hope, I’d love to help you but I don’t have anything like the equipment you’re describing.

Hope, I’d love to help you –

So there we have three peaks of stress. Hope, I’d love to help you–

Hope, I’d love to help you–

Uhhhhh—-

Hope, I’d love to help you–

See if you can do that. Make it smooth,

one sound gliding up next to the other, do it just on UH if you want to,

to practice that smoothness, to practice that melody.

Hope, I’d love to help you–

Hope, I’d, I’d- Lower in pitch, flatter, Hope, I’d love to–

The word to reduced.

Hope, I’d love to–

I’d love to– So the T is pronounced more like a D.

This is common when the sound before is voiced. The sound before here is V, vvvv,

that is voiced, so he’s making this a D sound: love duh-love duh–

and this is the schwa. Love to help you.

Help you. P releasing right into the JU diphthong: pyou, pyou, pyou. Help you.

Help you–

but I don’t have anything like the–

But I don’t have anything like the–

uhhhh–

But I don’t have anything like the–

So we have I: But I don’t have anything like the–

And then everything falls down from that, and is slowly, the pitch slowly glides down.

But I don’t–

But I don’t have anything like the–

But I– But I– That’s a flap T linking those two sounds together.

But I don’t–

Let’s listen to this N apostrophe T ending, what’s happening there?

But I don’t– But I don’t– But I don’t have anything like the–

But I don’t have–

don’t have–

The T is totally dropped, it happens more commonly than you think.

N apostrophe T contractions can have a stop T, can have a fully pronounced T, that’s not very common,

and then they can also have a totally dropped T where the N just goes right into the next sound,

and that’s what’s happening here.

I don’t have–

anything like the–

Anything like the– the equipment– So the word the here is pronounced with the EE vowel

because the next word begins with the vowel, and it happens to be the EE vowel.

The, the, there’s a little bit of a feeling of a re-emphasis here, the, the, the equipment.

The equipment, the equipment, the equipment.

Equip– and then we have another stressed syllable after this long line of unstressed syllables

heading down in pitch. Anything like the equip– anything like the quip–

Anything like the equipment–

Everything linking together smoothly. Do it that smoothly.

When you’re working with the audio that goes at the end of this video,

try the slow motion section, and really focus on

that smoothness and connection.

Anything like the equipment–

We have a little bit of length here on the stressed syllable of anything.

Note that that is the EH vowel even though we see the letter A.

Have anything, have anything, have anything, have anything like the equipment.

Have anything like the equipment.

Equipment. We have a stop P. It’s not released. It’s not quipment, but qui-ment.

And then we have a stop T here: equipment, equipment, da-da-da. So a little bit of a lift there, equipment.

Equipment, equipment, equipment you’re describing.

You’re– and then we have a reduction. It’s not your, or your, it’s yer, said more quickly, more simply, yer, yer, yer.

Equipment you’re-

describing.

The equipment you’re describing. Describing. Middle syllable stress there of that word,

and of course, as he is saying it, another character interjects.

Equipment you’re describing.

Equipment you’re describing.
I told you this is a waste of time.

I told you this is a waste of time. Very clear when you listen to it on a loop.

Da-da-da-da-da-da-da-da.

Where our stressed syllables are. I told you.

I told you this is a waste of time.

Now, a couple interesting things happening here with the word told.

We have an ending D sound, the next word is you.

This can happen, it’s actually pretty common for the Y constant of you or your or yourself

to turn that into a J sound instead of a D sound. Told you, ju, ju.

This is how we would write that sound in IPA. I told you. Told you.

I told you–

Also the L in told is a dark L. Tol–

That does influence the vowel here, which is actually a diphthong, the OH diphthong.

So it’s not told, but it’s: to-ohld. The dark sound and the OH mix together, so it’s not really a diphthong anymore,

it’s more like a single sound, ohl, ohl, lip rounding, the tongue is,

the tongue tip is not lifted, but the whole tongue itself is shifted up and back a little bit.

Tohl– before the J sound. I told you.

And this is a true T because it begins a stressed syllable.

So link the AI diphthong right into that true T. I told you.

I told you–

this is a waste of time.

I told you this is a– this is a– this is a– Then we have three really fast words.

This is a– this is– notice that these are different sounds.

The letter S in this is an S sound, the letter S in is is a Z sound, links right into the schwa.

So all of these words link together really smoothly. This is a, this is a, this is a, this is a.

This is a–

See if you can simplify your mouth movements to make that that fast. This is a, this is a, this is a.

This is a waste. This is a waste.

This is a waste–

of time.

Waste of time. Waste of time.

So we have two stress words. One unstressed word in between.

The ending T of waste, links right into the reduction of ‘of’: of, of, with a true T. Waste of time.

And then another true T in time, because it is beginning a stressed syllable.

Waste of time.

A waste of time. A waste of time. A waste of time.

So you can’t say: waste of time, waste of time, you can’t fully pronounce that.

You won’t be able to do it quickly enough. You have to reduce it. Waste of time. of of of of.

A waste of time.

Come on, let’s go.

Then he says really quickly: come on, let’s go. Really linked together, not all that clear. Come, come.

I would write that with the schwa, come on,

and then it links right into the next vowel: come on, let’s go.

Come on, let’s go.

Come on, let’s go. And actually, on is our peak of stress there. Come on, let’s go.

And then everything else falls down away from that peak come leads up to it. Come, come on, let’s go.

And actually, let’s go is said pretty unclearly. I would say there’s not even a T sound there.

Let’s go. Let’s go. Let’s go. Let’s go.

I’m just hearing light L, EH as in bed, S. Let’s go. Let’s go. Let’s go. Let’s go. Come on, let’s go.

Come on, let’s go.

Don’t condescend Hank–

What do you think are the most stressed syllables here?

Don’t condescend Hank.

Hank. Hank definitely has stress it’s an up down shape as his voice goes up.

Don’t condescend. Some stress on con, more on scend, condescend.

So each word in American English only has one syllable with primary stress.

That would be the send syllable here.

But some syllables do have secondary stress.

And sometimes, they have a stressed feel, and sometimes they don’t.

This one sort of does.

Condescend. Con, con, con.

So this is a word that we wouldn’t change the vowel to the schwa.

Con, con, con. Condescend.

Condescend.

But this middle syllable, unstressed, does have the schwa.

Condescend.

So notice the C here doesn’t make a sound. It’s just combining with the S to make an S sound.

Condescend.

Now here, we have an N apostrophe T. How is that pronounced?

Don’t condescend–

It’s a stop T. Don’t, don’t, don’t, don’t condescend.

Don’t condescend–

Hank.

Hank. Does a light release of the K. Hank. This is like the word thank.

If you look it up in IPA, thank has unvoiced TH,

AA as in Bat, NG sound, K.

Well, this sound is AH. I don’t hear that sound in thank.

Ah, thank, thank, thank.

So this is actually a case where the IPA doesn’t really reflect what happens when we speak.

It’s a lot more like the AY diphthong.

When the AA vowel is followed by the NG consonant, if you look up a word and you see that, like thank,

just know that it should be more like: ay ay thay thay thank thank Hank Hank. Not Hank Hank.

Hank.

You’re the one who’s on the run from the FBI.

Okay what are our peaks of stress here?

Let’s listen to the sentence a few times, see if the rhythm jumps out at you.

You’re the one who’s on the run from the FBI.

You’re the one– You’re the one who’s on the run from the FBI. FBI.

You’re the one who’s on the run from the FBI.

I’m trying to think about what vowel I think he’s putting in there.

It sounds a little bit like the AW when it’s followed by R like in the word core.

You’re, you’re, you’re, you’re, but it also sounds more closed than that, kind of like UR plus R, like

if we reduced it: you’re, you’re, you’re, but then we put some shape into it, you’re, you’re.

So I would say it’s probably more like this one, but it’s also not totally pure.

Sometimes it’s really hard to identify what exact sound I think it is, especially when there’s an R involved

or something that might change the vowel a little bit.

Like R definitely changes the AW as in law vowel, it’s not going to be a pure sound

when R follows it in the same syllable.

You’re the one– You’re the one– You’re the one who’s on the run from the FBI.

You’re the one who’s on the run– You’re the one who’s– the one who’s–

So we have three flatter in pitch words here, unstressed, remember, always linking together smoothly.

You’re the one who’s on, who’s on, who’s on.

Ending Z here. This is the word is, which does have a Z sound for the S.

Who’s on– links right into the vowel. Who’s on the run.

Just everything linking together so smoothly. No skip or space or lift between the words.

You’re the one who’s on the run-

You’re the one who’s on the run from the FBI.

On the run from the- So ‘the’ here flatter in pitch, unstressed.

From the. Also flatter in pitch, unstressed.

Not pronounced: from the, but rather: from the, from the, from the, from the.

To say that more quickly, you have to put a schwa in there.

From, from, from, from, from the, from the, from the.

From the FBI.

And actually this vowel in ‘the’ is actually the EE vowel: from the, from the, from the, from the F,

that’s because the next word begins with the EH as in bed vowel, F, F, from the, from the, from the, from the FBI.

FBI.

And whenever we say something by the initials, it’s always the last initial that has the most stress, like here,

FBI, but everything links together really smoothly there.

FBI.

B links into I. You can feel like you’re going through a glide constant Y. FBI. FBI.

FBI.

All because you had to grow to a size–

All because you had to grow to a size.

Lots of up down shape there. All because you had to grow to a size.

All because you had to grow to a size.

Now let’s look at the word because. So he’s really stressing

and speaking more clearly here. I think he’s accusing him of something. He’s a little bit angry.

All because. So the word because is written in IPA with the IH as in sit, but I hear him doing more of an EE vowel.

All because. Over pronouncing, over accenting it because of his emotion. All because.

All because–

you had to grow to a size.

You had to grow to a size. So then we have three unstressed words here before the more up down shape,

the more stressed word of grow.

But he’s still saying all of the words pretty clearly here I would say.

You had to grow to a size.

You had, you had to, let’s listen to just these three words on a loop.

You had to–

Do you notice that even though he’s a little bit angry, and speaking a little bit more clearly,

we still have a reduction here? It’s not had to, it’s hadduh, hadduh, hadduh, taking the ending D,

linking it on to the schwa, and letting that be the word to. You had to. You had to. You had to grow.

You had to grow–

to a size.

Grow to a size. So we have two unstressed words between now again we have the word to,

and we’ve seen how it can reduce to just the schwa. But you know what? It doesn’t reduce here at all.

And the reason is it links into a word that is the schwa, or

it can also happen if it’s a longer word that begins with schwa. When the word two links into a word like this,

we can’t also make it a schwa because then the schwas would blend together and we might not hear the syllable.

We might not catch the word at all. So it is a true T plus the OO vowel which then links right into the schwa.

To a, to a, to a, to a. So it’s unstressed, but it doesn’t reduce. But it’s not to, it’s to, to, to, to a, to a, to a.

Still needs that unstressed feel. Grow to a size.

Grow to a size.

Grow to a size that finally fit your ego.

That, that, that. The word that said quickly with a stop T and then he really brings out that consonant.

Finally. Finally.

He wants to stress that word. Finally fit your ego.

That finally fit your ego.

Fit your, fit your. Stop T in fit and the word your, not reduced to your, which is very common,

and why didn’t he reduce it? Well, he’s insulting him. He’s kind of stressing each word.

It’s, it’s an insult to be considered somebody with a big ego. And so he’s saying you grew to a size,

a huge size that finally fit your huge ego.

So in this insult, he’s stressing each word more.

Finally fit your ego.

Put a little up down shape there.

Finally fit your ego.

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

Doctor, we need to find our lab.

Hope, I’d love to help you but I don’t have anything like the equipment you’re describing.

I told you, this is a waste of time. Come on, let’s go.

Don’t condescend, Hank.

You’re the one who’s on the run from the FBI.

All because you had to grow to a size that finally fit your ego.

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 how to say what you want to say when you’re speaking English,

you just think about the words themselves, not the pronunciation.

This is part of a series all summer long,

13 videos, 13 scenes for movies check out each one, learn something new each time.

I make new videos on the English language every Tuesday and I’d love to have you back here again

please subscribe with notifications and continue your studies right now with this video.

And if you love this video, share it with a friend.

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

今天，您正在通过查看以英语为

母语的人在说英语时所做的简化、链接、旋律和简化来学习快速英语。

我们将使用电影《蚁人与黄蜂女》中的场景。

当你以这种方式学习美式英语，而不是你在学校学习的方式，

或者你从书本中学习的方式时，你的听力理解和发音自然

的英语能力将会显着提高。

今天，你会看到当某人侮辱某人时，他们的节奏会发生什么变化。

我们正在进行深入分析，研究赋予美式英语特征的节奏对比。

最后会有音频来训练，这样你就可以完全理解它，

并开始养成自然美式英语的习惯。

你是从联邦调查局逃跑的人。

我们整个夏天都在这样做。我们从六月开始，我们正在经历八月。

每个星期二和我在一起。它们都是很棒的场景，有很多东西要学

，可以改变你理解和说英语的方式。

和往常一样，如果你喜欢这个视频或者你学到了一些新东西，请喜欢并订阅通知。

您将观看剪辑，然后我们将一起进行完整的发音分析。

当您在电视上观看英语电影时，这将对您的听力理解有很大帮助。

但是会有一个培训部分。

你将把你刚刚学到的东西拿来练习重复，做一个减少，拍一个T，

就像你在分析中学到的一样。好了，现场来了。

医生，我们需要找到我们的实验室。

希望，我很乐意帮助你，但我没有你描述的设备。

我告诉过你，这是浪费时间。来吧，我们走吧。

不要屈尊，汉克。你是从联邦调查局逃跑的人。

这一切都是因为你必须成长到最终适合你的自我的规模。

现在，分析。

医生，我们需要找到我们的实验室。

那么这句话的重音和旋律是什么？

医生，医生，上去了。医生，我们需要找到我们的实验室。

然后我们有这三个词，

在该短语下降的整体感觉中具有一点点上下的形状。

让我们再听一遍那个旋律。

医生，我们需要找到我们的实验室。

现在就在 UH 上和我一起做吧。嗯。呃。

当你把词放进去的时候，你能把它弄得那么顺利吗？

这就是目标。

为此，您可能需要稍微简化一下有关单词发音的事情。

医生，我们需要找到我们的实验室。

医生，

我们—— R 直接连接到 W，没有中断。

做——那是父亲元音中的AH

，第二个O是schwa。

所以R吸收了施瓦。你不需要尝试在那里发出元音。

医生。医生。从 T 到 R。 Doctor we–

Doctor we–

医生，我们需要找到我们的实验室。

我们需要找到我们的——

所以和我们的，两者的音调都较低，是山谷的一部分，是那些压力山峰之间的小山谷。

需要——所以他们说得更快，他们的音调更低

，为了做到这一点，我们做了一些减少。因此，与其说需要，不如说：

需要 duh– 我们需要–

我们需要–

需要– 所以 to 这个词被简化为 schwa。

当前面的声音是 D 时，就会发生这种情况。

Need to-need to

find– schwa 将 D 和 F 连接在一起，这样这些词之间就没有中断。

需要找到我们的实验室。

然后我们的单词发音很快。它更像是：是，是。找到我们的，找到我们的，找到我们的实验室。

找到我们的实验室。

希望，我很乐意帮助你，但我没有你描述的设备。

于是，他用一个长长的思想小组做出了回应。

这里没有中断，比第一个语句长得多，不是吗？

这不是很棒吗？我喜欢和你一起做这些分析。

你知道，我的学生在课堂上要求的一件事就是更多的成语和俚语。

当你看电影的时候，你可能会发现有些单词和短语你理解，

但你不知道它们的含义，你不知道它们是如何被使用的。

我想谈谈赞助这个视频的 Cambly。

Cambly，它是一个平台，它是一个应用程序，您可以使用它直接与教师联系。

在 Cambly 中，您可以搜索特定主题，例如成语和俚语。

你可以找到可以专门教授这类课程的老师。

您可以立即致电某人，或单击他们的个人资料以了解更多信息。

您可以观看视频、了解他们并查看他们的认证。

您现在不想和其中一位老师用英语交谈吗？

要获得年度套餐的折扣，请使用 rachel-english10 。

感谢 Cambly 支持这个视频和这个频道

，以及 32% 的年度课程套餐，使用 rachel-english10。

现在，让我们回到那个分析。

希望，我很乐意帮助你，但我没有你描述的设备。

于是，他用一个长长的思想小组做出了回应。

这里没有中断，比第一个语句长得多，不是吗？

希望，我很乐意帮助你，但我没有你描述的设备。

希望，我很乐意帮助你——

所以我们有三个压力高峰。希望，我很想帮助

你–

希望，我很想帮助你–嗯嗯–希望，我很想帮助你–希望，我很想帮助

你–

希望，我很乐意帮助

你——看看你能不能做到。让它平滑，

一个声音滑到另一个旁边，如果你愿意，就在 UH 上做，

练习那种平滑度，练习那种旋律。

希望，我愿意帮助你——

希望，我愿意，我愿意—— 降低音调，更平缓，希望，我很想–

减少这个词。

希望，我愿意–

我愿意– 所以 T 的发音更像 D。

这在发音时很常见之前是浊音。前面的声音是V，vvvv

，是浊音，所以他把这个变成了D音：love duh-love

duh——这就是schwa。喜欢帮助你。

帮你。 P 直接释放到 JU 双元音中：pyou, pyou, pyou。帮你。

帮助

你——但我没有类似的东西——

但我没有类似的东西——呃呃——

但我没有类似的东西——

所以我们有我：但我没有有类似的东西——

然后一切都从那里掉下来，然后慢慢地，球场慢慢地滑下来。

但我

没有——但我没有类似的东西——

但我没有类似的东西——但我没有类似的东西——

但我——但我——

Flap T 将这两个声音联系在一起。

但我不——

让我们听听这个 N 撇号 T 结尾，那里发生了什么？

但我没有——但我没有——但我没有类似的东西——但我没有——没有——没有

——T完全掉了，它比你想象的更常见。

N 撇号 T 收缩可以有一个停止 T，可以有一个完全发音的 T，这不是很常见，

然后它们也可以有一个完全下降的 T，其中 N 正好进入下一个声音

，这就是这里发生的事情。

我没有… 恰好是EE元音。

那个，那个，这里有点重新强调，那个，那个，设备的感觉。

设备，设备，设备。

装备——然后我们有另一个重读音节，在这长长的非重读音节

行之后，音调下降。任何像装备的东西——任何像俏皮话的东西——像任何东西——像任何东西——像

任何东西——像

任何东西——

一切都流畅地连接在一起。做的那么顺利。

当您处理本视频结尾处的音频时，请

尝试慢动作部分，并真正专注

于流畅度和连接性。

任何类似设备的

东西– 任何类似设备的东西– 任何类似设备的

东西–

我们在任何东西的重读音节上都有一点长度。

请注意，即使我们看到字母 A，那也是 EH 元音。

拥有任何东西，拥有任何东西，拥有任何东西，拥有任何东西，比如设备。

有装备之类的。

设备。我们有一个停止 P。它没有发布。这不是设备，而是设备。

然后我们在这里有一个停止T：设备，设备，da-da-da。所以那里有一点电梯，设备。

设备，设备，您所描述的设备。

你是 - 然后我们有一个减少。不是你的，不是你的，是你的，说得更快，更简单，你，你，你。

你

描述的设备。

你描述的设备。描述。那个词的中间音节重音

，当然，正如他所说，另一个角色插话。

你描述的设备。

你描述的设备。
我告诉过你这是浪费时间。

我告诉过你这是浪费时间。循环听的时候非常清楚。

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

我们的重读音节在哪里。我告诉你了。

我告诉过你这是浪费时间。

现在，这里发生了几件有趣的事情。

我们有一个结尾的 D 音，下一个词是你。

这可能会发生，您或您或您自己的 Y 常数实际上很常见

将其变成 J 音而不是 D 音。告诉你，ju，ju。

这就是我们在 IPA 中编写该声音的方式。我告诉你了。告诉过你了。

我告诉过你 - 告诉中

的 L 也是一个暗 L. Tol -

这确实会影响这里的元音，它实际上是一个双元音，即 OH 双元音。

所以它没有被告知，但它是：to-ohld。暗音和OH混合在一起，所以它不再是真正的双元音了

，更像是一个单一的声音，ohl，ohl，圆唇，舌头是

，舌尖没有上提，而是整个舌头本身上移了再回来一点。

Tohl——在J音之前。我告诉你了。

这是一个真正的 T，因为它以重读音节开头。

因此，将 AI 双元音直接连接到那个真正的 T。我告诉过你。

我告诉过你——

这是浪费时间。

我告诉过你这是–这是–这是– 然后我们有三个非常快的词。

这是 - 这是 - 注意这些是不同的声音。

这里的字母 S 是一个 S 音，其中的字母 S 是一个 Z 音，直接链接到 schwa。

所以所有这些词都非常流畅地连接在一起。这是一个，这是一个，这是一个，这是一个。

这是一个——

看看你能不能简化你的嘴巴动作，让它变得那么快。这是一个，这是一个，这是一个。

这是一种浪费。这是一种浪费。

这是一种浪费

——浪费时间。

浪费时间。浪费时间。

所以我们有两个重音词。中间一个不重读的词。

浪费的结尾 T 直接连接到“of”的减少：of，of，与真正的 T。浪费时间。

然后是另一个真正的时间 T，因为它开始一个重读音节。

浪费时间。

浪费时间。浪费时间。浪费时间。

所以你不能说：浪费时间，浪费时间，你不能完全发音。

你将无法足够快地做到这一点。你必须减少它。浪费时间。的的。

浪费时间。

来吧，我们走吧。

然后他很快说：来吧，我们走吧。真的联系在一起，不是很清楚。来来。

我会用 schwa 来写，来吧，

然后它直接连接到下一个元音：来吧，让我们走吧。

来吧，我们走吧。

来吧，我们走吧。实际上，那里是我们的压力峰值。来吧，我们走吧。

然后其他一切都从那个高峰跌落下来，导致它上升。来吧，来吧，我们走吧。

实际上，我们走的说得很不清楚。我会说那里甚至没有T音。

我们走吧。我们走吧。我们走吧。我们走吧。

我只是听到轻的 L，EH 就像在床上一样，S。我们走吧。我们走吧。我们走吧。我们走吧。来吧，我们走吧。

来吧，我们走吧。

不要居高临下汉克

——你认为这里最重读的音节是什么？

不要鄙视汉克。

汉克。汉克肯定有压力，随着他的声音上升，这是一个上下起伏的形状。

不要自卑。一些强调con，更多的是scend，屈尊。

所以美式英语中的每个单词只有一个带有主要重音的音节。

那就是这里的发送音节。

但有些音节确实有二次重音。

有时，他们有压力的感觉，有时却没有。

这一种可以。

居高临下。骗子，骗子，骗子。

所以这是一个我们不会将元音更改为 schwa 的词。

骗子，骗子，骗子。居高临下。

居高临下。

但是这个不重读的中间音节确实有 schwa。

居高临下。

所以请注意这里的 C 没有发出声音。它只是与 S 结合发出 S 音。

居高临下。

现在在这里，我们有一个 N 撇号 T。它是如何发音的？

不要居高临下——

这是一个停止T。不要，不要，不要，不要居高临下。

不要居高临下——

汉克。

汉克。 K. Hank 的轻放。这就像感谢这个词。

如果你在 IPA 中查找，谢谢有清音 TH、

AA 和 Bat、NG 音、K。

嗯，这个音是 AH。我没有听到谢谢的声音。

啊，谢谢，谢谢，谢谢。

所以这实际上是国际音标并没有真正反映我们说话时发生的情况。

它更像是 AY 双元音。

当 AA 元音后面跟着 NG 辅音时，如果你查一个单词，你会看到，likethank，

只知道它应该更像：ay ay thay thaythankthank Hank Hank。不是汉克汉克。

汉克。

你是从联邦调查局逃跑的人。

好的，我们这里的压力峰值是什么？

让我们多听几遍这句话，看看节奏是否会跳出来。

你是从联邦调查局逃跑的人。

你就是那个——你就是那个正在逃离联邦调查局的人。联邦调查局。

你是从联邦调查局逃跑的人。

我正在努力思考我认为他在里面放的是什么元音。

当它后面跟着 R 时，它听起来有点像 AW，就像单词 core 中的一样。

你是，你是，你是，你是，但它听起来也比这更封闭，有点像 UR 加 R，

就像我们减少它一样：你是，你是，你是，但后来我们把一些形状放进去，你是，你是。

所以我会说它可能更像这个，但它也不是完全纯净的。

有时真的很难确定我认为它是什么确切的声音，尤其是当涉及到 R

或可能会稍微改变元音的东西时。

就像 R 肯定会像法律元音一样改变 AW，

当 R 在同一个音节中跟随它时，它不会是一个纯音。

你就是那个——你就是那个——你就是那个正在逃离联邦调查局的人。

你是那个在奔跑的人——你是那个人——那个人——

所以我们在这里有三个平缓的词，不重读，记住，总是顺利地连接在一起。

你是那个在，谁在，谁在。

Z 到此结束。这是单词 is，对于 S 来说确实有 Z 音

。Who’s on- 直接连接到元音。谁在逃。

只是一切都如此顺利地连接在一起。单词之间没有跳跃或空格或提升。

你是

在逃的那个人 - 你是在逃的那个 - 你是联邦调查局逃跑的那个人。

在奔跑中——所以这里的“the”在音高上更平坦，没有重音。

来自。音调也更平坦，没有重音。

不发音：from the，而是：from the, from the, from the, from the。

要说得更快，你必须在里面放一个 schwa。

从，从，从，从，从，从，从，从。

来自联邦调查局。

实际上，“the”中的这个元音实际上是 EE 元音：from the, from the, from the, from the F，

那是因为下一个单词以 EH 开头，就像在床元音中一样，F, F, from the, from the ，来自，来自 FBI。

联邦调查局。

每当我们用首字母说话时，总是压力最大的最后一个首字母，就像这里，

FBI，但在那里一切都非常顺利地联系在一起。

联邦调查局。

B 链接到 I。你会觉得你正在经历一个滑翔常数 Y. FBI。联邦调查局。

联邦调查局。

一切都是因为你必须成长到一个规模——

一切都是因为你必须成长到一个规模。

那里有很多上下形状。这一切都是因为你必须长大。

这一切都是因为你必须长大。

现在让我们看一下因为这个词。所以他真的很强调

，在这里说得更清楚。我觉得他在指责他什么。他有点生气。

都是因为。所以这个词因为是用国际音标写的，IH 和坐一样，但我听到他做更多的 EE 元音。

都是因为。由于他的情绪，过度发音，过度强调。都是因为。

这一切都是因为——

你必须长大。

你必须长大。所以我们这里有三个非重读词，在形状越上向下，

重读词增长越多之前。

但他仍然把我想说的所有话都说得很清楚。

你必须长大。

你必须，你必须，让我们循环听这三个词。

你必须——

你有没有注意到，即使他有点生气，说得更清楚一点，

我们这里还是有减少的？它不是必须的，它是 hadduh，hadduh，hadduh，取结尾 D，

将它连接到 schwa，然后让它成为这个词。你不得不。你不得不。你必须成长。

你必须成长 -

到一个大小。

长到一个大小。所以我们有两个不重读的词，从现在开始，我们有了词 to

，我们已经看到它是如何简化为 schwa 的。但你知道吗？它根本没有减少。

原因是它链接到一个单词 schwa，或者

如果它是一个以 schwa 开头的较长单词，它也可能发生。当两个单词像这样链接成一个单词时，

我们不能也让它成为一个 schwa，因为这样 schwas 会混合在一起，我们可能听不到音节。

我们可能根本听不懂这个词。所以它是一个真正的 T 加上 OO 元音，然后直接链接到 schwa。

对一个，对一个，对一个，对一个。所以它没有压力，但它并没有减少。但不是to，而是to，to，to，to a，to a，to a。

仍然需要那种无压力的感觉。长到一个大小。

长到一个大小。

成长为最终适合您的自我的大小。

那个，那个，那个。那个词用停止T快速说，然后他真的带出了那个辅音。

最后。最后。

他想强调这个词。终于适合你的自我了。

这终于符合你的自我了。

适合你的，适合你的。 Stop T in fit and the word your, not reduce to your，很常见

，他为什么不减少呢？好吧，他是在侮辱他。他有点强调每一个字。

是的，被认为是一个自大的人是一种侮辱。所以他说你长大了，

一个最终适合你巨大自我的巨大尺寸。

所以在这种侮辱中，他更加强调每个字。

终于适合你的自我了。

在那里放一个向上向下的形状。

终于适合你的自我了。

让我们再听一遍整个对话。

医生，我们需要找到我们的实验室。

希望，我很乐意帮助你，但我没有你描述的设备。

我告诉过你，这是浪费时间。来吧，我们走吧。

不要屈尊，汉克。

你是从联邦调查局逃跑的人。

这一切都是因为你必须成长到最终适合你的自我的规模。

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。

然后你会重复一遍：也许是这样，先生。试着准确地模仿这一切。

所以当你看到这个时

，你会重复它。也许是这样，先生。

那是来自顶级枪：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。

所以当你说英语时，你不需要考虑如何表达你想说的话，

你只考虑单词本身，而不是发音。

这是整个夏天系列的一部分，

13 个视频，13 个电影场景，每一个都可以查看，每次都能学到新东西。

我每周二都会制作新的英语视频，我很乐意让您再次回到这里，

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。