Learn English with Movies Ferris Buellers Day Off

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

the simplification that native speakers do when speaking American English.

We’re using the movie Ferris Bueller’s Day Off,

a classic from 1986.

And all the linking and reductions that Americans do can make it pretty hard to understand them,

but when you study American English, the way we will in this video,

your listening comprehension and your ability to sound natural speaking English

is going to improve dramatically.

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

Oh, that hurts, Cameron.

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.

It’s getting late, buddy, we better go get the car back home.

What?
What do you…? We have a few hours.

We have until six.

I’m sorry, I mean, I know you don’t care, but it does mean my ass.

You think I don’t care?

I know you don’t care.

Oh, that hurts, Cameron.

Cameron, what have you seen today?

Nothing good.

Nothing, nothing, nothing, this…

What do you mean nothing good?

We’ve seen everything good. We’ve seen the whole city.

And now, the analysis.

It’s getting late, buddy, we better go get the car back home.

Okay, a pretty long thought group here. Everything glides together smoothly.

Let’s just look at the first four words. What are our stressed syllables there?

It’s getting late, buddy-

It’s getting– A little bit of stress there. It’s getting late, buddy-

It’s getting late, buddy–

We have a couple reductions happening here.

The word it’s is reduced. The vowel is dropped, so it’s just the TS cluster linking into the G.

Now with these ING endings, it’s pretty common for native speakers in

the more common words, in more casual situations, to change the NG sound,

NG which is made at the back of the tongue, to just an N sound

N which is made with the front of the tongue lifting.

So getting becomes gettin' gettin'.

Now why does the T change?

If I don’t change the consonant, if it’s an ING ending, then it’s a flap T. Getting. Getting. Getting.

But if I change it to an N, this becomes a stop T. Gettin. Get-nn. Get-nn.

It’s getting,

There’s a rule about T followed by schwa and N

and how that T becomes a stop T.

That’s an exception to the rule because here in the first syllable, we have G and EH as in bed,

and the rule is when a T comes between two vowels, it’s a flap T.

But the exception is when it’s T schwa N, then it’s a stop T, and that’s what’s happening here.

So it would maybe be written in IPA with the IH as in sit, and N ending

rather than schwa, but they act the same when they’re unstressed.

So if we change the ING to an N,

and the final sound was a T sound

with a vowel before, it becomes: gettin, gettin.

It’s getting–

Another example would be the word hitting.

H-I-T-T-I-N-G hitting with a flap T,

but if we drop the G and make it an N, then it’s hittin, hittin, hit-nn. Stop T.

So we have a dropped IH in it’s, we have a stop T, and the ending changes to N.

Gettin, get-nn, get-nn,

so put your tongue into position for the T, stop your air, get-nn.

Then you don’t need to move your tongue. It’s in position for the N, just make the N sound.

Get-nn, get-nn.

It’s getting,

late.

It’s getting late. It’s getting late, buddy.

It’s getting late, buddy.

In this stress word late, we also have a stop T, that’s because the next word begins with a consonant.

It’s getting late, buddy.

Now, let’s talk about these D’s. The D sound, ddd–

is a stop of air and release. Buddy, buddy.

But that’s not how we pronounce it between vowels.

Here it comes between the vowel UH as in butter, and EE as in she,

a D sound between vowels is flapped.

So it’s not buddy, but it’s: buddy.

Buddy. Dadadadada. Buddy. It’s getting late, buddy.

It’s getting late, buddy.

It’s getting late, buddy, we better go get the car back home.

We better go get the car back home.

Be– the stressed syllable of better, stressed there.

We better go get the car back home.

So we have three syllables there that are longer, the rest are lower in pitch.

So it’s not we, but it’s: we, we, we better.

We better–

We better. We want it to feel unstressed next to the stressed syllable be.

If I didn’t do that, it would be: we better, we better go get the car back home.

Well, that’s not how we speak at all.

We really need that contrast. We, we, we, we better.

We better–

We better. Do you notice that the T sound here is a flap?

Just like the D between two consonants.

The T between two consonants is also a flap.

Better. Better.

Unless we’ve already seen an exception here.

Unless it’s part of the T schwa N sequence, then it’s a stop.

But in this word, it’s not. So it’s better, better, buddy, buddy, rarara, it’s a flap.

We better go get.

We better go get. So the second syllable of better

and go get the, those are all flatter, lower in pitch just like we.

Tter go get the– Tter go get the–

We better go get–

Get the–

Do you notice that stop T there? Don’t release it. Get the.

You just stop the air in your throat very quickly before moving on to the next sound.

Get the, get the, get the, better go get the.

Better go get–

the car back home.

Car back home. Car back home. Dadada.

Back has a little bit of length too, even though it doesn’t have the up down shape that car does,

that would be: car back home, but it’s: car back home. Car back home.

Car back home.

What?

What? What? We hear this faintly in the background. It’s the woman sitting in the car. What?

Pitch going up. She’s asking what?

Why? Why on earth would we need to get the car back home? It’s not getting late. What?

Stop T at the end.

What?

What?
What do you..?

What do you… He starts to say the phrase: what do you mean?

What do you… and he makes the M but he doesn’t say the rest of the word.

What do you mm… What do you mm… So I’m going to put an M here at the end.

What do you mm… What do you mm… What do you…

Okay, so what’s happening with what and do? This is pretty common when

a word that ends in T like what is followed by a D,

that we drop the T sound and just link it in. Wha–

So you can think of it as the UH as in butter, or the schwa depending on how quickly you’re making it.

Wha– Wha– Wha- wha duh– wha duh– wha duh-wha duh yuh–

What do you..?

What do you..? What do you..?

Then this is going to be a flap because it comes between two vowels.

What do you..?

All of these vowels reduced to the schwa. It’s not: what do you, it’s: wha duh yuh- wha duh yuh- wha duh yuh–

What do you mean?

What do you want to do?

What do you think?

Pretty common to pronounce these three words this way.

Wha duh yuh- wha duh yuh- wha duh yuh-

Simplify your mouth movement. Move quickly. What do you, what do you.

Try to relax everything, practice that, just those three words.

Wha duh yuh- wha duh yuh- And then you can do a stressed word after.

What do you think?

What do you mean?

What do you need?

This is how we speak natural conversational American English.

What do you..?

What do you..? We have a few hours.

We have a few hours.

We have a few– stress on have, hours, stress on hours, but he’s making the pitch go up.

So rather than an up down shape, it’s a down up shape.

Hours, we have a few hours.

But everything really links together smoothly, doesn’t it?

We have a few hours.

We have a few–

A, and few, and we, they’re all less stressed. Just put them into the line.

Have a few hours.

No skips or breaks. We have a few hours.

Hours. Notice the H in this word is silent.

We have a few hours.

We have until six.

We have until six. Stressing the verb. We have until six.

And the time. We have until six.

We have until six.

We have until six. We have until six.

Make sure you’re imitating that smoothness in the change of pitch.

Uuhhhhh

We have until six.

No reductions here.

Notice the T in until is a true T.

That’s because it starts a stressed syllable. Until six.

The letter X here makes the KS cluster.

Six. Six. We have until six.

We have until six.

I’m sorry, I mean, I know you don’t care, but it does mean my ass.

Another long thought group here. I’m sorry.

I’m sorry. That’s the loudest syllable in this phrase.

I’m sorry, I mean, I know you don’t care.

So we have a little up on know, a little up down on care, I know you don’t care.

I’m sorry, I mean, I know you don’t care.

I’m sorry, I mean, I mean, I mean.

These two words actually, these three words, lower in pitch, a little bit less volume, flatter.

I mean I, I mean I, I mean I, I mean, I know.

I mean, I know–

That flat contrasts with sorr– and know.

I’m sorry, I mean. I should have included this unstressed syllable here into that.

Sorr-y I mean, I- y I mean, I- y I mean, I-

because the unstressed syllable of the stressed word also has an unstressed feel.

So we have one, two, three, four unstressed syllables in a row, between our stressed syllables.

I’m sorry, I mean, I– I mean, I– I mean, I– I mean, I- I mean, I-

Try to make it really that low and that simple with your mouth movements.

I’m sorry, I mean, I–

I’m sorry, I mean, I know you don’t care.

I know you don’t care.

So you and don’t, also unstressed between our more stressed words, and the word you reduces.

Again, it’s not you, just like before, here, it’s ye.

I know you don’t care.

Super subtle lift here. Don’t care. Don’t. Stop T.

It’s a little bit nasally because of the N. I know you don’t care. Don’t care. Don’t care.

I know you don’t care.

I know you don’t care, but it does mean my ass.

But it does mean my ass.

So we have stress on does, and ass,

but it, said really quickly, flat, low in pitch. But it, but it, but it, but it.

They link together with a flap. But it, but it, but it.

This T is a Stop T because the next word begins with a consonant.

But it does. But it does.

But it does. But it does. But it does.

Does. Make sure you’re not saying: does.

That is not an S that is a Z sound. Does. Does.

But it does mean my. Mean my. Mean my.

Lower end pitch, flatter. Mean my ass.

Link these two words together really smoothly.

It’s an AI diphthong and the AH vowel.

Sometimes it’s a challenge for my students to link two vowel or diphthong sounds together.

My ass. You can think of going through the glide consonant Y.

That might help you connect them more smoothly.

So what does this phrase mean? It means my ass. That means:

I’m the one who’s going to be in trouble, not you, me.

But it does mean my ass.

You think I don’t care?

He’s amazed. He can’t believe it. What is his stress here? What are the most stressed words?

You think I don’t care?

Definitely stress on think. You think I don’t care?

And stress on care, it’s going up.

You think, now here, the word you doesn’t reduce. It’s not yuh, it it’s not yuh, yuh, it’s: you, but it is flatter in pitch.

It’s not: you think, it’s not stressed, it’s: you, you, you, you, you think, you think, you think I don’t-

Two unstressed words again. You think i don’t care?

You think I don’t care?

Don’t care, don’t care. Again, a subtle little break here while we stop the air for that stop T.

I don’t care? I don’t care?

I don’t care?

I know you don’t care.

Ooh, that’s a harsh response. What’s his stress?

I know you don’t care.

Care has stress but he’s not putting it up as a question so his pitch goes down.

I know you don’t care.

Again, don’t care, don’t care, little stop T there.

I know you don’t care.

Oh, that hurts, Cameron.

Oh. Oh. up down shape.

Oh, that hurts, Cameron. That hurts, Cameron.

Hurts, the verb, most stressed there.

Oh, that hurts, Cameron.

That hurts. Do you notice that stop T there? That hurts.

Now, let’s talk about this word for a second. H consonant, UR vowel, R combination, TS cluster.

A lot of my students get confused with this. They want to do something like: huts,

or they want to put some sort of vowel in before an R. But this sound is so influenced by the R

that it’s just all the same sound. Hhh-rr-ts. Hhh-rr

Now to make the sound, you don’t really need jaw drop.

Just put your tongue into position for the R. Urrrrr.

Tip is pulled back and up, it’s not touching anything.

Urr-hurr-hurts, hurts, that hurts, that hurts, Cameron.

That hurts, Cameron.

The word Cameron, just like camera,

could be pronounced potentially with that middle syllable, but he doesn’t.

He leaves it out. Camera. Cameron.

This is a more common pronunciation, so right from M into R.

Cam-ron. Cameron.

Cameron.

Cameron, what have you seen today?

Cameron. Cameron. Cameron.

A little up shape at the end. Cameron. Again, dropping that middle syllable. Cameron.

Cameron.

Cameron, what have you seen today?

What have you seen today?

The question word get some stress. What have you seen today?

Today? Now, be careful with this word. A lot of people want to say: Today, Today, Today.

That is not the OO vowel. Look it up in the dictionary, you’ll see the schwa. T,T,T Today. Today. Today.

What have you seen today?

What have you, what have you. Okay, so the word you does not reduce. It’s you, not yih, but it is unstressed.

You, you, the word have does reduce, he drops the H.

Now we have a T between vowels, so that becomes a flap T linking them.

What have, what have.

What have–

W consonant, AA vowel, flap T linking, and then have is reduced to just schwa V.

What have, what have, what have, what have you, what have you seen, what have you seen today?

What have you seen today?

Nothing good.

He’s being a little sassy here. They’ve had a lot of fun that day.

Nothing good.

Making the pitch go up a little bit at the end.

Nothing good.

Sort of shows that sassiness. Nothing. Did you notice? It’s not: nothing, nothing, nothing,

so he’s changed the NG ending to just an N ending.

Nothing, nothing, nothing.

Nothing–

Another thing I want to just say about ING endings.

So ING written in IPA, IH, Nn, IN, written in IPA, IH, Nn, however,

when the vowel IH is followed by NG, that vowel changes.

It’s actually a lot more like EE, like in the word ring, or sing. That’s not ring, or sing.

So that NG consonant changes the vowel. So if we have an ING ending,

and we change the NG sound to an N sound, we not only change the consonant, but we change the vowel as well.

It goes from sounding like EE to sounding more like IH.

So nothin' in, in, instead of nothing, ing, ing, nothing, nothing, nothing good.

Nothing good.

Nothing good. Light release of the D.

Don’t make it good. That’s too much. Good. Good. Good.

Really light.

Good.

Nothing, nothing, nothing, this…

Okay, so we’re not going to go through the pronunciation of this. He’s just sort of in disbelief,

just sort of saying little beginnings of words but not actually completing any of them. He can’t believe it.

Nothing, nothing, nothing, this…

What do you mean nothing good?

Wha– up down shape on our question word. What do you mean nothing good?

What do you mean nothing good?

What do you– again, we have that reduction, don’t we?

It’s not: what do you, but it’s: whah d’ya–

What do you mean–

Actually, it’s what uh you– so he reduces the vowel in do to the schwa,

but he doesn’t reduce it in you, it is still unstressed. So this can be:

what do you, or whah d’ya-. What do you , whah d’ya.

So the first time we heard it as: whah d’ya, now here, it’s: what do you, what do you, what do you, what do you.

What matters is that that is unstressed. Now, you can choose to do you, or ya, totally up to you.

If you want to work this phrase into your conversational english, and you want to practice it,

you can choose if you want to reduce that vowel or not.

Just really practice: whah d’ya- whah d’ya- or what do you, what do you.

Practice that smoothness and the stress. The first word is stressed,

the other two words said very quickly. That’s what’s important here to sound natural.

Both vowels are okay. Whah d’ya. What do you. What do you. What do you mean?

What do you mean?

Mean nothing good? Mean nothing–

Two words, same sound linking them together. Mean nothing.

Just a single N sound to link. Nothing. Nothing. Okay, so UH as in butter vowel,

unvoiced TH, your tongue tip has to come through.

Nothing. Nothing. Let’s take a look at his mouth position for that sound.

What do you mean nothing good?

Nothing good. Now here, he does not change the ING ending to IN so it is EE as in She, ING sound. Nothing.

Nothing. Nothing good. Nothing good. Right from the NG sound into the G sound, no break, all connected.

Nothing good.

Nothing good. We’ve seen everything good.

We’ve seen everything good.

So the words we’ve and seen, two unstressed syllables leading up to that peak of pitch.

Ev– on the first syllable here. Everything good and then some more stress there.

We’ve seen everything good. And it all links together.

The V sound is very subtle. We’ve seen– just very subtle and fast there.

We’ve seen. We’ve seen. We’ve seen. Think of it as a word, not two words.

That’s how linked together it needs to be. We’ve seen everything.

You can think of this word as being: neverything, neverything, if that helps you connect the two words.

We’ve seen everything good.

Thing, unvoiced TH. IH as in sit, NG ending, so the vowel is more like EE. Everything good.

And again linking right into the G sound. Everything good.

Everything good.

Everything good. We’ve seen the whole city.

We’ve seen the whole city.

Stress on seen, again, we’ve, it’s unstressed, it’s just leading up to that stressed syllable.

We’ve seen the whole.

Whole city. Some stress on whole. More stress on ci-city.

So we see the letter C but of course, it’s the S consonant, first syllable stress, city.

Flap T because it comes between two vowels, we flap it. I’ve been writing that with the D symbol, dadada,

because the T between vowels sounds just like the D between vowels. City, city, city.

We’ve seen the whole city.

Whole, silent W. We’ve seen the whole city.

We’ve seen the whole city.

We’ve seen the whole city. I want to talk about the L here:

whole city, that’s a dark L because it comes after the diphthong sound in that syllable.

That would be pronounced or written in IPA H, OH diphthong, L. Whole. Whole.

Now, because the next word begins with a consonant, we can get away with not lifting the tongue tip,

and actually that’s what you want to do. If you lift your tongue tip for this L, it will bring the sound more forward

and it will probably take too long.

We just want: who-oh-ohl, whole.

Also the dark L really changes that diphthong, doesn’t it? It’s not: who-ol, who-ol.

So the diphthong isn’t pure, it’s whole.

Sort of a funny dark sound. The lips around some. The back of the tongue presses down and back.

Whole city. Before we go into the S sound.

We’ve seen the whole city.

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

It’s getting late, buddy, we better go get the car back home.

What?
What do you…? We have a few hours.

We have until six.

I’m sorry, I mean, I know you don’t care, but it does mean my ass.

You think I don’t care?

I know you don’t care.

Oh, that hurts, Cameron.

Cameron, what have you seen today?

Nothing good.

Nothing, nothing, nothing, this…

What do you mean nothing good?

We’ve seen everything good. We’ve seen the whole city.

Now for the fun part,

you’ll look at the notes we took together and you’ll hear a part of the conversation on a loop three times.

Then there’s a space for you to repeat. For example, you’ll hear this:

Maybe so, sir.

Then you’ll repeat it: maybe so, sir. Try to imitate everything about this exactly so when you see this,

then you’ll repeat it. Maybe so, sir.

That’s from Top Gun: Maverick, which was the first movie we studied in this summer series.

You’ll also have the opportunity to listen and repeat in slow motion.

This will be important for you if you’re more of a beginner, or if you’re having a hard time focusing on linking or the melody.

Maybe you’ll want to do it both ways, but the important thing is here is your opportunity

to take what you learned and put it into your body and your own habit.

That’s what’s going to transform your speaking.

You might do well to work with the audio section of this video every day for a week.

Imitating the rhythm and the simplifications will get easier each time you do it.

If you can’t keep up with the native speaker, do the slow-motion imitation.

Okay, here’s our audio training section.

Don’t forget to come back and do this audio again tomorrow and the next day.

You want to build habits here so you don’t need to think about it so much when you’re speaking in conversation.

You can focus on the words and not the expression or pronunciation.

Don’t forget this is part of a series all summer long, 13 videos, 13 scenes for movies check out each one,

learn something new each time.

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

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

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

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

今天，您正在通过查看减少、链接、压力模式

以及母语者在说美式英语时所做的简化来学习快速英语。

我们使用的是 1986 年的经典电影 Ferris Bueller’s Day Off

。

美国人所做的所有链接和简化都会让人很难理解它们，

但是当你学习美式英语时，我们在这个视频中将采用的方式，

你的听力理解和你说自然英语的能力

将显着提高。

像这样学习，你就可以不用字幕看懂美国电影和电视了。

哦，那很痛，卡梅伦。

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。

每个星期二都和我在一起，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。

时间不早了，伙计，我们还是把车开回家吧。

什么？
你……是什么？我们有几个小时。

我们有到六点。

对不起，我的意思是，我知道你不在乎，但这确实意味着我的屁股。

你以为我不在乎？

我知道你不在乎。

哦，那很痛，卡梅伦。

卡梅伦，你今天看到了什么？

没什么好的。

没什么，没什么，没什么，这……

什么不好？

我们看到一切都很好。我们已经看到了整个城市。

现在，分析。

时间不早了，伙计，我们还是把车开回家吧。

好的，这里是一个相当长的思想小组。一切顺利地滑行在一起。

我们只看前四个字。我们那里的重读音节是什么？

时间不早了，伙计-

时间不早了，

伙计- 有点压力了。时间不早了，伙计 -

时间不早了，伙计 -

我们这里有一些减少。

它的词被减少了。元音被删除了，所以它只是连接到 G 的 TS 簇。

现在有了这些 ING 结尾，母语者

在更常见的词中很常见，在更随意的情况下，改变 NG 声音，

NG 是在舌后部，只发一个 N 音

N，由舌前部抬起。

所以得到就变成了’gettin'。

现在为什么T会改变？

如果我不改变辅音，如果它是一个 ING 结尾，那么它就是一个襟翼 T。得到。得到。得到。

但是，如果我将其更改为 N，这将成为停止 T. Gettin。获取-nn。获取-nn。

它得到了，

关于 T 后跟 schwa 和 N

以及 T 如何成为停止 T

的规则。这是规则的一个例外，因为在第一个音节中，我们有 G 和 EH 就像在床上一样

，规则是当一个 T 在两个元音之间，它是一个拍音 T。

但例外是当它是 T schwa N 时，它是一个停止 T，这就是这里发生的事情。

所以它可能会用 IPA 写成，IH 和 sit 一样，N 结尾

而不是 schwa，但是当它们没有重读时，它们的行为是一样的。

所以如果我们把 ING 改成 N

，最后一个音是 T 音

，前面有一个元音，就变成了：gettin，gettin。

它越来越——

另一个例子是打击这个词。

H-I-T-T-I-N-G 用襟翼 T 击中，

但如果我们放弃 G 并使其成为 N，那么它就是 hittin，hittin，hit-nn。停止 T。

所以我们有一个下降的 IH，我们有一个停止 T，结尾变为

N。Gettin，get-nn，get-nn，

所以把你的舌头放在 T 的位置，停止你的空气，get -nn。

然后你就不需要动你的舌头了。它在 N 的位置，只需发出 N 的声音。

得到-nn，得到-nn。

天色已晚。

天色已晚。时间不早了，伙计。

时间不早了，伙计。

在这个重音词中，我们也有一个停止T，那是因为下一个词以辅音开头。

时间不早了，伙计。

现在，让我们谈谈这些D。 D 音，ddd–

是空气的停止和释放。伙计，伙计。

但这不是我们在元音之间发音的方式。

它出现在元音 UH 和 she 中的元音 UH 之间，元音之间

的 D 音被拍打。

所以它不是哥们，而是：哥们。

伙伴。达达达达。伙伴。时间不早了，伙计。

时间不早了，伙计。

时间不早了，伙计，我们还是把车开回家吧。

我们最好把车开回家。

be——better的重读音节，重读有。

我们最好把车开回家。

所以我们有三个更长的音节，其余的音调更低。

所以不是我们，而是：我们，我们，我们更好。

我们更好——

我们更好。我们希望它在重读音节 be 旁边感觉没有重读。

如果我不这样做，那就是：我们最好，我们最好把车开回家。

好吧，这根本不是我们说话的方式。

我们真的需要这种对比。我们，我们，我们，我们更好。

我们更好——

我们更好。你注意到这里的 T 音是襟翼吗？

就像两个辅音之间的D一样。

两个辅音之间的 T 也是一个瓣。

更好的。更好的。

除非我们已经在这里看到了异常。

除非它是 T schwa N 序列的一部分，否则它是一个停止。

但在这个词中，它不是。所以更好，更好，伙计，伙计，rarara，这是一个襟翼。

我们最好去拿。

我们最好去拿。所以第二个音节better

and go get the，就像我们一样，它们都更平坦，音调更低。

Tter go get the– Tter go get the–

我们最好去 get–

Get the–

你注意到 T 停在那里了吗？不要释放它。得到。

您只需快速停止喉咙中的空气，然后再继续下一个声音。

得到，得到，得到，最好去得到。

最好去拿——

回家的车。

打车回家。打车回家。达达达。

Back 也有一点长度，尽管它没有 car 那样的上下形状，

那就是：car back home，但它是：car back home。打车回家。

打车回家。

什么？

什么？什么？我们在背景中隐约听到这句话。是坐在车里的那个女人。什么？

间距上升。她在问什么？

为什么？为什么我们需要把车开回家？事不宜迟。什么？

最后停止 T。

什么？

什么？
你是什么..？

你是什么意思……他开始说这句话：你是什么意思？

你怎么了……他做了M，但他没有说其余的词。

你是什么……你是什么……所以我要在最后放一个M。

你做什么……你做什么……你做什么……

好吧，那么发生了什么事情和做什么？当

一个以 T 结尾的单词就像后面跟着一个 D 时，

这很常见，我们去掉 T 音，然后把它链接进去。Wha–

所以你可以把它想象成黄油中的 UH，或者 schwa 取决于你制作它的速度。

哇–哇–哇-哇-哇-哇-哇-哇-哇-

你–你怎么了..？

你是什么..？你是什么..？

然后这将是一个襟翼，因为它位于两个元音之间。

你是什么..？

所有这些元音都简化为 schwa。不是：你是什么，而是：wha duh yuh- wha duh yuh- wha duh yuh——

你是什么意思？

你想让我做什么？

你怎么认为？

以这种方式发音这三个词很常见。

Wha duh yuh- wha duh yuh- wha duh yuh-

简化您的嘴巴动作。动作快点。你做什么，你做什么。

试着放松一切，练习那个，就这三个字。

Wha duh yuh- wha duh yuh- 然后你可以在之后做一个重读词。

你怎么认为？

你是什么意思？

你需要什么？

这就是我们说自然会话美式英语的方式。

你是什么..？

你是什么..？我们有几个小时。

我们有几个小时。

我们有几个 - 强调有，小时，强调小时，但他正在让球场上升。

因此，它不是向上向下的形状，而是向下向上的形状。

小时，我们有几个小时。

但一切真的很顺利地联系在一起，不是吗？

我们有几个小时。

我们有一些

——A，很少，我们，他们都没有那么紧张。只需将它们放入队列中即可。

有几个小时。

没有跳过或休息。我们有几个小时。

小时。注意这个词中的 H 是无声的。

我们有几个小时。

我们有到六点。

我们有到六点。强调动词。我们有到六点。

和时间。我们有到六点。

我们有到六点。

我们有到六点。我们有到六点。

确保你在模仿音高变化的平滑度。

Uuhhhhh

我们要到六点。

我们有到六点。

这里没有减价。

注意 until 中的 T 是真正的 T。

那是因为它以重读音节开头。直到六点。

这里的字母 X 构成 KS 集群。

六。六。我们有到六点。

我们有到六点。

对不起，我的意思是，我知道你不在乎，但这确实意味着我的屁股。

另一个长期的思想小组在这里。抱歉。

抱歉。这是这句话中最响亮的音节。

对不起，我的意思是，我知道你不在乎。

所以我们知道一点，关心一点，我知道你不在乎。

对不起，我的意思是，我知道你不在乎。

对不起，我是说，我是说，我是说。

这两个字其实，这三个字，音调低一点，音量小一点，平一点。

我的意思是我，我的意思是我，我的意思是我，我的意思是，我知道。

我的意思是，我知道——

那个平面与 sorr 形成对比——并且知道。

对不起，我是说。我应该把这个不重读的音节加进去。

对不起，我的意思是，我的意思是，我的意思是，我的意思是，我的意思是，

因为重读单词的非重读音节也有一种非重读的感觉。

所以我们在重读音节之间连续有一、二、三、四个非重读音节。

对不起，我的意思是，我——我的意思是，我——我的意思是，我——我的意思是，我——我的意思是，我——

试着用你的嘴巴动作让它变得那么低，那么简单。

对不起，我是说，

我——对不起，我是说，

我——对不起，我是说，我知道你不在乎。

我知道你不在乎。

所以你和不要，在我们重读的词和你减少的词之间也没有重读。

再说一次，不是你，就像以前一样，在这里，是你。

我知道你不在乎。

这里超级微妙的电梯。别在意。别。停止T。

因为N，它有点鼻音。我知道你不在乎。别在意。别在意。

我知道你不在乎。

我知道你不在乎，但这确实意味着我的屁股。

但这确实意味着我的屁股。

所以我们对does和ass有压力，

但它说得非常快，平坦，音调低。但是它，但是它，但是它，但是它。

它们用襟翼连接在一起。但是它，但是它，但是它。

这个 T 是 Stop T，因为下一个单词以辅音开头。

但确实如此。但确实如此。

但确实如此。但确实如此。但确实如此。

做。确保你没有说：确实。

那不是 S 是 Z 音。做。做。

但这确实意味着我的。意思是我的。意思是我的。

低端音高，更平坦。意思是我的屁股。

把这两个词联系在一起真的很流畅。

这是一个 AI 双元音和 AH 元音。

有时将两个元音或双元音联系在一起对我的学生来说是一个挑战。

我的屁股。您可以考虑通过滑行辅音 Y。

这可能有助于您更顺畅地连接它们。

那么这句话是什么意思呢？这意味着我的屁股。这意味着：

我会遇到麻烦，而不是你，我。

但这确实意味着我的屁股。

你以为我不在乎？

他很惊讶。他无法相信。他在这里的压力是什么？压力最大的词是什么？

你以为我不在乎？

绝对强调思考。你以为我不在乎？

并强调护理，它正在上升。

您认为，现在在这里，您不会减少这个词。不是yuh，不是yuh，yuh，是：你，但音调更平。

不是：你想，不是重音，而是：你，你，你，你，你想，你想，你认为我没有—— 又是

两个没有重音的词。你以为我不在乎？

你以为我不在乎？

别在意，别在意。再一次，当我们为那个停止 T 停止空气时，这里有一个微妙的小休息。

我不在乎？我不在乎？

我不在乎？

我知道你不在乎。

哦，这是一个严厉的回应。他的压力是什么？

我知道你不在乎。

关心有压力，但他没有把它作为一个问题提出，所以他的音调下降了。

我知道你不在乎。

再说一次，不要在意，不要在意，小停在那里。

我知道你不在乎。

哦，那很痛，卡梅伦。

哦。哦。上下形状。

哦，那很痛，卡梅伦。好痛，卡梅伦。

伤害，动词，在那里最强调。

哦，那很痛，卡梅伦。

那很痛。你注意到那里的停止T了吗？那很痛。

现在，让我们先谈谈这个词。 H辅音，UR元音，R组合，TS簇。

我的很多学生对此感到困惑。他们想做一些类似的事情：小屋，

或者他们想在 R 之前加入某种元音。但是这种声音受 R 的影响很大，

以至于它们都是相同的声音。 Hhh-rr-ts。 Hhh-rr

现在要发出声音，你真的不需要下巴了。

只需将您的舌头放在 R. Urrrrr 的位置。

尖端被拉回和向上，它没有碰到任何东西。

啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊。”

好痛，卡梅伦。

Cameron 这个词，就像相机一样，

可以用中间音节发音，但他没有。

他把它留了下来。相机。卡梅伦。

这是一个更常见的发音，所以从 M 变成 R.

Cam-ron。卡梅伦。

卡梅伦。

卡梅伦，你今天看到了什么？

卡梅伦。卡梅伦。卡梅伦。

最后有点向上的形状。卡梅伦。再一次，放弃那个中间音节。卡梅伦。

卡梅伦。

卡梅伦，你今天看到了什么？

你今天看到了什么？

疑问词有些重音。你今天看到了什么？

今天？现在，小心这个词。很多人想说：今天，今天，今天。

那不是OO元音。查字典，你会看到schwa。今天，T，T，T。今天。今天。

你今天看到了什么？

你有什么，你有什么。好的，所以你不减少这个词。是你，不是yih，但它没有压力。

你，你，这个词确实减少了，他去掉了H。

现在我们在元音之间有一个T，所以它变成了一个连接它们的襟翼T。

有什么，有什么。

What have–

W 辅音，AA 元音，Flap T 连接，然后 have 被简化为 schwa V。what

have，what have，what have，你有什么，你看到了什么，你今天看到了什么？

你今天看到了什么？

没什么好的。

他在这儿有点小气。那天他们玩得很开心。

没什么好的。

使音高在最后一点点上升。

没什么好的。

有点显示出这种无礼。没有什么。你注意到了吗？不是：什么都没有，什么都没有，

所以他把 NG 结尾改成了 N 结尾。

没什么，没什么，没什么。

没什么——

关于 ING 结局，我想说的另一件事。

所以 ING 用 IPA、IH、Nn、IN 写成 IPA、IH、Nn，但是，

当元音 IH 后面跟着 NG 时，那个元音会改变。

它实际上更像 EE，比如 ring 或 sing 这个词。那不是响，也不是唱歌。

这样NG辅音就改变了元音。因此，如果我们有一个 ING 结尾，

并且我们将 NG 音变为 N 音，我们不仅会改变辅音，还会改变元音。

它从听起来像 EE 到听起来更像 IH。

所以没什么在，在，而不是没什么，ing，ing，没什么，没什么，没什么好。

没什么好的。

没什么好的。 D 的轻释放。

不要让它很好。这太多了。好的。好的。好的。

真的很轻。

好的。

没什么，没什么，没什么，这个……

好的，所以我们不打算讨论这个的发音。他只是有点难以置信，

只是说了一些小的开头词，但实际上并没有完成任何一个词。他无法相信。

没什么，没什么，没什么，这……

什么不好？

什么都不好？

什么 - 在我们的问题词上向上向下形状。什么都不好？

什么都不好？

你怎么 - 再说一次，我们有那个减少，不是吗？

不是：what do you，而是：whah d'

ya– 你是什么意思–

实际上，就是 uh you– 所以他将 do 中的元音减少到 schwa，

但他没有减少你的元音，它仍然是无压力的。所以这可以是：

你是什么，或者whah d’ya-。你怎么了，whah d’ya。

所以我们第一次听到它是：whah d’ya，现在在这里，它是：你做什么，你做什么，你做什么，你做什么。

重要的是那是没有压力的。现在，你可以选择做你自己，或者你，完全取决于你。

如果你想把这个短语运用到你的会话英语中，并且你想练习它，

你可以选择是否要减少那个元音。

只是真正地练习：whah d’ya- whah d’ya- 或者你做什么，你做什么。

练习那种平滑度和压力。第一个词重读

，其他两个词说得很快。这就是听起来自然的重要之处。

两个元音都没问题。哇哦。你是什么。你是什么。你是什么意思？

你是什么意思？

没啥好意思？毫无意义——

两个词，相同的声音将它们联系在一起。没什么意思。

只需一个 N 音即可链接。没有什么。没有什么。好的，所以 UH 就像黄油元音，

清音 TH，你的舌尖必须通过。

没有什么。没有什么。让我们来看看他发出那个声音的嘴巴位置。

什么都不好？

没什么好的。现在在这里，他没有将 ING 结尾更改为 IN，所以它是 EE，就像 She, ING 声音一样。没有什么。

没有什么。没什么好的。没什么好的。右从NG音到G音，无间断，全通。

没什么好的。

没什么好的。我们看到一切都很好。

我们看到一切都很好。

所以我们已经和看到的单词，两个不重读的音节通向那个音高的顶点。

Ev– 在此处的第一个音节上。一切都很好，然后那里的压力更大。

我们看到一切都很好。这一切都联系在一起。

V音非常微妙。我们已经看到——那里非常微妙和快速。

我们见过。我们见过。我们见过。把它想象成一个词，而不是两个词。

这就是它需要如何联系在一起的方式。我们已经看到了一切。

你可以把这个词想象成：neverything，neverything，如果这有助于你连接这两个词。

我们看到一切都很好。

东西，清音 TH。 IH 与 sit 一样，NG 结尾，所以元音更像 EE。一切安好。

并再次直接连接到 G 音。一切安好。

一切安好。

一切安好。我们已经看到了整个城市。

我们已经看到了整个城市。

重读，再一次，我们已经，它是非重读的，它只是引导到那个重读音节。

我们已经看到了整体。

整个城市。整体有些压力。城市压力更大。

所以我们看到字母 C 但当然，它是 S 辅音，第一个音节重音，城市。

Flap T 因为它在两个元音之间，所以我们将它拍打。我一直用 D 符号来写这个，dadada，

因为元音之间的 T 听起来就像元音之间的 D。城市，城市，城市。

我们已经看到了整个城市。

整个，沉默的W。我们已经看到了整个城市。

我们已经看到了整个城市。

我们已经看到了整个城市。我想在这里谈谈 L：

整个城市，这是一个暗 L，因为它出现在那个音节中的双元音之后。

这将用 IPA H、OH 双元音、L. Whole 发音或书写。所有的。

现在，因为下一个单词以辅音开头，我们可以不用抬起舌尖而侥幸

，实际上这就是你想要做的。如果你为这个 L 抬起你的舌尖，它会使声音更靠前

，而且可能需要太长时间。

我们只想要：who-oh-ohl，整体。

黑暗的 L 真的改变了双元音，不是吗？这不是：谁-OL，谁-OL。

所以双元音不是纯粹的，而是完整的。

一种有趣的黑暗声音。唇边有些。舌头的后部向下和向后按压。

整个城市。在我们进入 S 音之前。

我们已经看到了整个城市。

让我们再听一遍整个对话。

时间不早了，伙计，我们还是把车开回家吧。

什么？
你……是什么？我们有几个小时。

我们有到六点。

对不起，我的意思是，我知道你不在乎，但这确实意味着我的屁股。

你以为我不在乎？

我知道你不在乎。

哦，那很痛，卡梅伦。

卡梅伦，你今天看到了什么？

没什么好的。

没什么，没什么，没什么，这……

什么不好？

我们看到一切都很好。我们已经看到了整个城市。

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，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，这样你在谈话时就不需要考虑太多。

您可以专注于单词而不是表达或发音。

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

学到新东西。

我每周二都会制作新的英语视频，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。