Learn English with Movies The Shape of Water Improve Your English Conversation Skills

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

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

Every video this summer is going to be a study English with movies video.

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

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

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

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

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

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

This is going to be so much fun.

Be sure to tell your friends and spread the word that all summer long, every Tuesday,

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

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

Let’s get started. First, the scene.

What are you talking about?

No. Absolutely not.

Because it’s breaking the law, that’s why.

Probably breaking the law just talking about it.

Oh, he’s alone. Oh.

Now does this mean that whenever we go to a Chinese restaurant, you want to save every fish in the tank?

So what if he’s alone. We’re all alone.

The loneliest thing you’ve ever seen? Well, you just said it,

right, you just said it, you called it a thing. It’s a thing. It’s a freak.

Now, the analysis.

What are you talking about?

So he’s really stressing the word ‘talking’ here. And when we stress a word, we’re really only talking about the

stressed syllable in that word, and that’s the first syllable. Talking. So the unstressed syllable is

still unstressed even though this word is stressed.

What are you talking about?

What about the first three words of this phrase?

What are you,

We have a little bit of stress on ‘what’. What are you, what are you, what are you.

That’s said pretty quickly, isn’t it? The word ‘are’ is being reduced. It’s just schwa R, rrrr,

and because the letter T comes between two vowels, it is a flap T. What are, what are, what are, what are, what are.

Said really quickly, linked together. The word ‘are’ links really quickly into ‘you’ which is said quickly, and it’s flat.

What are you, what are you, what are you, what are you.

What are you,

What are you talking about?

As I listen to this on a loop, I think you could maybe get away with a dropping the R sound

and just making a schwa, but only if you say it extremely quickly, if you match the speed of this speaker.

What are you, what are you, what are you.

Then I think you can do it. If you do it any slower than, that then you definitely do need the R sound.

What are you talking about?

Talking about? So he stresses this word and he lets a little bit of extra air escape on his true T,

ttt talking about, and that makes it…stressing the first sound of a stressed syllable

makes it even more stressed.

Talking about, talking about, talking about.

Talking about. About, about. So this second word, it just falls down in pitch, coming off of the stressed syllable of

‘talking’. Talking about. The pitch falls down because the peak of pitch for this phrase

was the stressed syllable of ‘talking’. And he does do a stop T at the end, that sound is not released, about.

Talking about,

No. Absolutely not.

So then he says: . Absolutely not. And as he says this, he’s laughing. Now, I want you to also imitate the

laughing as you work with the audio that goes with this video. We want to practice imitation skills,

so when you’re working with this audio, practice exactly what you hear with the laugh in your voice.

No. Absolutely not.

No. No. And, so part of what he does is he puts an H sound in it.

No-ho and no-ho. It has a up-down shape for a stressed syllable. No-ho.

No.

No. Absolutely not.

Absolutely not. AB, a little bit of stress there. Absolutely not.

And ‘not’ has the most stress out of that two-word phrase.

Absolutely not.

Absolutely. So you’ll see the letter O here, just make that a schwa, really simple, absolutely.

Now there’s another stop T here, that’s because the next sound is a consonant, it’s the L consonant.

Yes, the next letter is a letter E and that’s a vowel letter, but it’s not a sound. The next sound is the L consonant.

So it’s a stop T. Absolutely, absolutely. It’s not released. Absolutely. That is not what we’re hearing.

We’re hearing: absolutely. Absolutely not.

Absolutely not.

And he does do a very light release of a True T here at the end. Absolutely not.

He’s really stressing ‘not’. He doesn’t want to drop that final release.

Absolutely not.

Because it’s breaking the law, that’s why.

What’s the most stress word there? What’s the peak of stress for that thought group?

Because it’s breaking the law, that’s why.

I think it’s ‘law’. Because it’s breaking the law. Law has the most up-down shape.

Breaking definitely has some. Breaking, but law is the most stressed, it is the peak.

Breaking the law, that’s why.

Because it’s breaking the law–

Because it’s breaking the law, that’s why.

Whoa! Different day, different outfit, important announcement. Did you know that with this video,

I made a free audio lesson that you can download? In fact, I’m doing this for each one of the youtube videos

I’m making this summer. All 11 of the Learn English with Movies videos!

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

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

Back to the lesson.

Because it’s breaking the law–

Because it’s breaking the law, that’s why.

That’s, also has a little bit. Breaking the law, that’s why. But everything that really smoothly links together with no

breaks, no skip in pitch.

Because it’s breaking the law, that’s why.

Because it’s– because it’s– Listen to just these first two words.

Because it’s–

Because it’s, Because it’s. Do you hear how flat that is? We don’t have that up-down shape. Those words are unstressed.

And then we compare that to the next word ‘break’ and the first syllable there does have more length

and has that up-down shape.

Because it’s breaking the law–

Breaking the law– So we have two other unstressed syllables here. The ING ending of ‘breaking’ and the

word ‘the’ before our next big scoop up, but let’s just take ‘breaking the law’ those three words,

and let’s just listen to those on a loop and listen to the music of that. We have a lot more up and down pitch.

We have a lot more pitch variation because this fragment has two stressed syllables.

So that’s pretty different than the flatness we got on: because it’s, because it’s, because it’s.

Because it’s breaking the law–

Because it’s breaking the law, that’s why.

And with the last two words, think about: that’s why, that’s why. Think about them being one word and

that Y is just an unstressed part that falls down with the pitch. And you know I drew that without a line

connecting them, but everything is connected here. There’s no break there. So when you practice: that’s why,

that’s why, that’s why, practice that with no break. Think of it as a single word if that helps you connect them,

and think of the pitch of the word ‘why’ just falling off of the little peak in pitch that we had on ‘that’s’.

‘That’s’ has a little bit of stress and then the of the energy of the voice just continues down

with the next word ‘why’.

That’s why.

Probably breaking the law just talking about it.

Okay, now in this thought group, what do you hear as the peak of pitch? What is the most stressed syllable here?

Probably breaking the law just talking about it.

Probably breaking– A little bit of stress there. Probably breaking the law just talking about it.

‘Talking’ to me has the most stress there. Okay, let’s look at what else is happening in this sentence?

Probably breaking the law just talking about it.

The first word, probably, he does a really common reduction where he drops the middle syllable,

so it’s just: probably. Probably, probably, probably, probably.

Probably–

Probably breaking the law just talking about it.

Probably breaking the law just talking– the law just talking–

Okay so we have this peak of pitch in, and I really feel we have a little bit of length on ‘law’ and then

the pitch for ‘just’ goes up as it’s going towards the peak of pitch. Just talking about it.

And then the words ‘about’ and ‘it’ fall away from that peak. We have a word that ends in a T and

then the next word begins with a T, we’re gonna connect those with a single T, just talking, just talking.

You do not need to try to make the T twice. We’re gonna use that to link the words. Just talking about it.

Just talking about it.

About it. About it. A little bit of a release of a T here, an escape of air. This T, about it, about it, about it,

is a flap linking the two words together that comes between two vowel or diphthong sounds.

But everything in this thought group super smooth, no breaks, no skips, no jumps,

pitch moves up towards the peak, and then back down.

Talking about it.

Oh, he’s alone. Oh.

Oh, he’s alone. Oh. Okay, so now he’s being sarcastic.

Obviously, this man doesn’t care if this creature is alone. And part of how he shows that he’s being sarcastic

is that he puts a lot of pitch change in his voice, which is what you might do if you were concerned.

He’s alone. It’s like “Oh my goodness! This is terrible!” so he does it too. Oh, he’s alone.

Oh. But of course he doesn’t, he’s not really concerned. Sarcasm.

Oh, he’s alone. Oh.

Oh, he’s alone. Okay so we have ‘Oh’ twice. It’s the OH diphthong.

Oh, he’s alone. Oh. And then we also have the OH diphthong on our stressed syllable here.

He drops the H and ‘he’s’ do you hear that?Oh, he’s, Oh, he’s, Oh, he’s, Oh, he’s.

Oh, he’s–

And the apostrophe S here is the Z sound, and it links the EE vowel and the schwa of ‘alone’.

He’s a– he’s a– he’s a– he’s a– he’s alone.

Oh, he’s alone.

So there’s a little bit of a break here. Oh, he’s alone. Oh. But let’s just focus on these first three words,

they just, they glide together so smoothly, don’t they? Part of that is because he drops the H in ‘he’s’

so he goes right from the OH diphthong into the EE vowel. Oh, he– Oh, he– Oh, he’s alone.

And then by linking that ending consonant Z onto the beginning vowel, the schwa of ‘alone’, it also just helps

all of the sounds go together, blend together smoothly. Oh, he’s alone.

Oh, he’s alone.

Oh, he’s alone. Oh.

Oh. Big up-down shape of a stressed syllable on ‘alone’ and ‘oh’. Oh.

Oh–

Now, does this mean that–

Okay so now we have a little thought group, it’s the beginning of his sentence, of his thought

but he puts a little break, so we can group ‘now does this mean that–’ together, as a thought group.

Super unclear. Listen to how he says it.

Now, does this mean that–

Now, does this mean that– Now, does this– Now, does this mean that–

I would say the peak is the word ‘this’ though interestingly, even though I would say that’s the peak

and the most stressed, I don’t really hear the TH. Does this, does this, does this. Ending Z sound of ‘does’

linking into the beginning vowel. The IH vowel. Does this, does this, does this. This is definitely something that I

hear when these two words go together. Does this work? Does this mean that you won’t be there?

So ‘does this’ can definitely link without that TH sound.

Now, does this mean that–

The word ‘now’, not said very quickly. Now, Now, Now, Now. I’m doing that without moving anything

in my mouth except my tongue. My lips are totally relaxed, my jaw isn’t moving, it’s not dropped very much.

Now, Now, Now, Now. It doesn’t sound very much like the word ‘now’ but in the context of the whole sentence,

I definitely know what that word is. So in English, we have a lot of this contrast, of this unstressed stuff,

less clear, way simplified mouth movements with this more stressed stuff, these longer syllables with the

up-down shape, the pitch variation.

Now, does this mean that–

Now, does this mean that– mean that–
The word ‘that’ also reduced, we do have a quick voiced

TH here, I believe schwa and a stop T.

That, that, that, that. Not too clear, mean that, mean that, mean that. Now, does this mean that–

Mean that–

Now, does this mean that whenever we go to a Chinese restaurant, you want to save every fish in the tank?

And now we have a much longer thought group. Many words, but no break. So all one thought group.

Let’s try to think about our peaks of pitch here.

Whenever we go to a Chinese restaurant, you want to save every fish in the tank?

Whenever we go– A little bit on ‘when’. Whenever we go to a Chinese restaurant,

you want to save every fish in the tank?

Pitch goes up, yes/no question, even though he’s still being sarcastic, he’s mocking her.

He knows she’s not going to actually want to save fish in the tank at a Chinese restaurant,

but he asks her to make her feel ridiculous for talking about this other creature in the water.

Have you seen this movie? I haven’t. But I’m looking forward to seeing it some time soon.

Whenever we go to a Chinese restaurant, you want to save every fish in the tank?

So let’s just look at the first few words. Whenever we go to a Chinese restaurant– whenever–

I put the wrong stress there, didn’t I? It’s not whenever, but it’s: whenever, whenever.

Whenever we go to a Chinese restaurant–

Whenever we go to a– go to a–
Did you hear how he made the T a flap T in the word ‘to’?

Now we don’t usually do that with a T at the beginning of a word, but i’ve noticed we do do it sometimes with

the word ‘to’, the word ‘today’, the word ‘tomorrow’, the word ‘together’, those T’s can get turned into a flap,

especially with the word ‘to’.

Whenever we go to a–

Whenever we go to a– Whenever we go to a– go to a– go to a–

All right, we often reduce the vowel in the word ‘to’ but he doesn’t do that here, he keeps it a OO vowel.

We usually reduce it to the schwa. The reason why he didn’t do that is because it’s followed by a schwa.

I mean he didn’t think about that, but this is, this is how the habit has developed.

We wouldn’t reduce the vowel in ‘to’ to a schwa when it’s followed by a schwa because then

we wouldn’t lose definition. So by keeping the OO vowel, we hear it as its own word.

Go to a– go to a– go to a– go to a– go to a– go to a– Try that.

Go to a– go to a– whenever we go to a–

So it’s still really smoothly connected, isn’t it?

Go to a– go to a– whenever we go to a Chinese restaurant.

So we have two two-syllable words here. Chinese restaurant. Res-taurant. So again, with the word

‘restaurant’, just like the word ‘probably’, res-tau-rant, you might hear this as three syllables, but most

native speakers will make it two. Rest-rant. Restaurant. Restaurant. Try that.

Restaurant.

And he does a stop at the end. It’s a little bit of a nasally stop

because the sound before was a nasal consonant N.

Restaurant. Try that. Restaurant. First syllable stress.

Restaurant–

You want to save every fish in the tank?

And now let’s look at the rest of this thought group. It has this great give-and-take with the rhythm.

You want to save every fish in the tank? Da da da da da da da.

I love that. I love hearing the rhythm of the language. So he takes the word ‘want to’, the words ‘want to’,

and reduces them into ‘wanna’. So with you, it sounds like this: you wanna, you wanna, you wanna, you wanna, you wanna.

You want to save. You want to save.

You want to save–

every fish in the tank?

Save every, then the next word, both syllables flatter, lower in pitch, then we have fish,

up down shape, stressed, and then two more words that are unstressed, flatter in pitch.

In the, in the, in the. In the tank? Really great music to this melody, to these words.

Save every fish in the tank?

So what if he’s alone.

His voice gets a little strange towards the end, alone, it sort of

got this quality like he’s lifting something heavy in it. But let’s look at this little five-word thought group.

So what if he’s alone.

So what if he’s alone. So what. ‘What’ is the most stressed there, ‘so’ goes up to it. So what if he’s alone.

A little bit of stress on the stressed syllable of ‘alone’ as well.

So what if he’s alone.

So what if he’s– what if– what if– what if– what if– What’s happening there with the T?

It’s a flap, isn’t it? He’s linking the two words at the flap T, it comes between two vowels.

So what if, so what if, so what if.

So what if, so what if, So what if he’s alone.

What if he’s– what if he’s– what if he’s– Again, he drops the H in ‘he’s’, so it’s just the EE vowel

and the Z consonant. He’s– what if he’s, what if he’s, so what if he’s, so what if he’s alone.

And the Z links right into the beginning sound of the next word, the schwa, alone, alone.

So what if he’s alone.

So what if he’s alone. We’re all alone.

Okay then a very mumbled three-word thought group. We’re all alone. Low in vocal energy, so it has that

popcorn quality to the voice, where the vocal cords aren’t fully engaged. And that sound creeps in.

We’re all alone.

We’re all alone. And stress on the word ‘all’ but the whole thing is really low in pitch, low in energy.

We’re all alone.

The loneliest thing you’ve ever seen? Well, you just said it–

Now here, he starts speaking a lot faster. The loneliest thing you’ve ever seen? Well, you just said it–

And he links this first thought right into the second thought without a break.

The loneliest thing you’ve ever seen? Well, you just said it–

The loneliest thing you’ve ever seen?
A little bit of stress on ‘ev’,

you’ve ever seen, a little bit of length on ‘seen’ but he doesn’t even really finish it. He’s just begins the N

before he starts right into the W. Well, you just said it– well, you just said it–

‘Just said’, stress on ‘just’, stress on ‘said’, and then a stop T ending that thought group.

The loneliest thing you’ve ever seen? Well, you just said it–

The loneliest thing you’ve ever seen? I’m actually gonna take back the stress I put there. I don’t really hear it.

The loneliest thing you’ve ever seen?

The loneliest thing you’ve ever– The loneliest thing you’ve ever– It really should be on ‘thing’.

The loneliest thing you’ve ever seen?

Now, it’s all really smoothly linked together, let’s talk about how he does that. The T in ‘loneliest’ is dropped.

It’s not uncommon to drop the T between two other consonants. Here, it comes between S, it comes

between the unvoiced TH in ‘thing’ and he drops the T. That helps him link those two words.

The loneliest thing. The loneliest thing.

The loneliest thing– The loneliest thing–
The loneliest thing you’ve ever seen?

Thing you’ve ever seen– Thing you’ve ever seen– NG linking right in to the next word, you’ve, but I

don’t really hear the VE, I know it’s there grammatically to make it work, but I’m not really hearing that sound.

You ever seen, you ever seen, you ever seen, you’ve ever seen.

So I think because it’s low in pitch, it’s unstressed, it’s said quickly,

I think you could get by with saying these two words together like that with those unstressed qualities

without putting a V sound in there. You ever seen, you ever seen, you ever, you ever, you ever, you ever, you ever.

Pretty unclear, isn’t it?

You’ve ever seen–

So instead of: seen, seen, it’s more like: see, see, see. S, EE vowel, the beginning of a nasal sound,

but he stops himself to go right into the next word, well.

You’ve ever seen? Well, you just said it–

Seen? Well, you just said it– So the energy is going up up up up up to the pitch on ‘said’.

Just said. The word ‘well’, not very clear.

Well, you just said it–

I would write it with the schwa. Well, well, well, well, well. A little quick W, and then dark L sound, well, well, well.

Well, you– well, you– well, you– well, you–
Well, you just– well, you just– well, you just said it–

well, you just said it– What happens to this T? It comes between two consonants, do you hear it?

Well, you just said it–

Nope, it’s dropped. Just said, just said. These two words linking together as single S sound, there’s no

stop and restart of that sound, it just links them together.

You just said it–

Said it– said it– said it– And here, the D comes between two vowel sounds, that also

sounds like a flap D between vowels. Sounds just like the T between vowels, a flap of the tongue.

Said it– said it– said it–

Said it–

Right, you just said it.

Listen to the word ‘right’.

Right, you just said it.

It’s kind of whispered, isn’t it? Not very clear. If someone came up to me and said just that word,

I wouldn’t understand it. But in the context of the give-and-take, the stressed and unstressed qualities

of a full sentence, I do get it. But it’s flat, low in energy, stop T at the end.

Right, you just said it.

You just said it. You just said it. You just said it.
A little bit of a laughter quality at the beginning,

and we have another ‘just said’ again, T is dropped, two words linked together with a single S sound.

You just said it.

You just said it. You just said it. You just said it.
Just, a little bit longer, ‘said’ a little bit longer,

probably the peak of the stress, and again, we have a flap here,

linking the two words together and another stop.

You just said it.

You just said it.
You called it a thing.

You called it a thing.

Called it a thing. He gestures with his hand, matching that stress. A little bit of stress on ‘called’.

Called it a thing. And the most stress on the word ‘thing’. The other two words, sorry, the other three words,

flatter in pitch, no reductions, no sounds are dropped or changed in an unusual way.

T is a flap T. It a, it a, it a.

Linking together the IH vowel and the schwa of the article ‘a’.

You called it a– you called it a– you called it a thing.

You called it a thing.

ED ending in the word ‘called’ is a single D sound because the sound before was voiced, the L sound.

Called it a– called it a– called it a thing.

You called it a thing.

You called it a thing. It’s a thing. It’s a freak.

It’s a thing. It’s a freak.
What is our stress here?

It’s a thing. It’s a freak.

It’s a thing. Stress on thing. It’s a thing. It’s a freak. Even a little bit more stress on ‘freak’.

It’s a– both times, flat in pitch, leading up into the stress. It’s a, it’s a, it’s a thing. It’s a freak. It’s a thing. It’s a freak.

It’s a thing. It’s a freak.

Really smoothly linked together. So make sure you’re not pronouncing the article as ‘a’ or as ‘ah’

because it’s uh, uh, uh. It’s faster than ‘ah’, isn’t it?

Uh. Uh. It’s a, it’s a, it’s a, it’s a, it’s a. It’s a thing. It’s a freak.

It’s a thing. It’s a freak.

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

What are you talking about?

No. Absolutely not.

Because it’s breaking the law, that’s why. Probably breaking the law just talking about it.

Oh, he’s alone. Oh.

Now does this mean that whenever we go to a Chinese restaurant, you want to save every fish in the tank?

So what if he’s alone. We’re all alone.

The loneliest thing you’ve ever seen? Well, you just said it, right, you just said it, you called it a thing.

It’s a thing. It’s a freak.

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

What movie scenes would you like to see analyzed like this?

Let me know in the comments! And if you want to see all my Ben Franklin videos, click here.

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

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

在美国，夏天适合阳光、沙滩和大片。

今年夏天，我们将使用这些电影来学习英语并学习如何听起来像美国人。

今年夏天的每个视频都将是一个学习英语的电影视频。

我们将从夏季最热门的电影以及过去几年最喜欢的电影中提取场景。

通过学习一点点英语对话，我们就能发现令人惊奇的东西。

我们将学习如何理解电影，是什么让美国人听起来像美国人，当然还有

在我们研究的场景中出现的任何有趣的词汇、短语动词或成语。

我把这种练习称为本富兰克林练习。首先，我们将观看现场。

然后，我们将对我们一起听到的内容进行深入分析。

这将非常有趣。

一定要告诉你的朋友并宣传整个夏天，每个星期二，

我们都会在 Rachel’s English 看电影学习英语。

如果您是我频道的新手，请点击订阅，不要忘记通知按钮。

让我们开始吧。首先，场景。

你在说什么？

不，绝对不是。

因为它触犯了法律，这就是原因。

说不定光是说说就触犯了法律。

哦，他一个人。哦。

现在这是否意味着每当我们去中餐馆时，你想把鱼缸里的每一条鱼都存起来？

那如果他一个人呢。我们都是孤独的。

你见过最孤独的事？好吧，你刚刚说了，

对，你刚刚说了，你把它叫做一件事。这是一回事。这是一个怪胎。

现在，分析。

你在说什么？

所以他在这里真的很强调“说话”这个词。当我们重读一个词时，我们实际上只是在谈论

那个词中的重读音节，那是第一个音节。说。所以

即使这个词是重读的，非重读的音节仍然是非重读的。

你在说什么？

这句话的前三个词怎么样？

你是什么，

我们对“什么”有一点压力。你是什么，你是什么，你是什么。

说得很快，不是吗？ “是”这个词正在减少。它只是 schwa R, rrrr

，因为字母 T 出现在两个元音之间，所以它是一个襟翼 T。什么是，什么是，什么是，什么是，什么是。

说得真快，连在一起。 ‘are’这个词很快就连接成’you’，它说得很快，而且很平。

你是什么，你是什么，你是什么，你是什么。

你是

什么，你在说什么？

当我在循环中听这个时，我认为你可能会放弃 R 的声音

并只发出一个 schwa，但前提是你说得非常快，如果你与这个扬声器的速度相匹配。

你是什么，你是什么，你是什么。

那我觉得你可以的。如果你做的比那慢，那么你肯定需要 R 声音。

你在说什么？

谈什么？所以他重读这个词，他在他真正的 T，ttt 谈论时让一点额外的空气逸出

，这使得它……重读重读音节的第一个声音

使它更加重读。

谈，谈，谈。

谈论。关于，关于。所以这第二个词，它只是在音调上下降，脱离了

“谈话”的重读音节。谈论。音高下降是因为这个短语的音高峰值

是“说话”的重读音节。而且他确实在最后做了一个停止T，那个声音没有被释放，大约。

说到，

不。绝对不是。

于是他说：。绝对不。当他这么说的时候，他在笑。现在，我希望

您在处理该视频附带的音频时也能模仿笑声。我们想练习模仿技巧，

因此当您使用此音频时，请准确练习您听到的笑声。

不，绝对不是。

不。不。而且，他所做的部分工作就是在其中放一个 H 音。

不和不。对于重读音节，它具有上下形状。不，嗬。

不，不，不，绝对不是。

绝对不。 AB，那里有点压力。绝对不。

而“不”在这个两个词的短语中压力最大。

绝对不。

绝对地。所以你会在这里看到字母 O，把它变成一个 schwa，非常简单，绝对。

现在这里还有一个停止T，那是因为下一个声音是辅音，它是L辅音。

是的，下一个字母是字母 E，这是一个元音字母，但它不是声音。下一个声音是 L 辅音。

所以这是一个停止T。绝对，绝对。它没有发布。绝对地。这不是我们听到的。

我们听到：绝对。绝对不。

绝对不。

最后，他确实在这里做了一个非常轻的 True T 释放。绝对不。

他真的在强调“不”。他不想放弃最终版本。

绝对不。

因为它触犯了法律，这就是原因。

那里最紧张的词是什么？那个思想群体的压力峰值是多少？

因为它触犯了法律，这就是原因。

我认为这是“法律”。因为它触犯了法律。法律具有最上下的形状。

打破肯定有一些。破，但法是最强调的，是巅峰。

触犯法律，这就是原因。

因为它触犯了法律——

因为它触犯了法律，这就是原因。

哇！不同的日子，不同的服装，重要的公告。你知道吗，通过这个视频，

我制作了一个免费的音频课程，你可以下载？事实上，我正在为

我今年夏天制作的每个 youtube 视频做这个。所有 11 部通过电影学习英语的视频！

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在这里，您将训练您在此视频中学到的有关发音的所有内容。

回到课程。

因为它触犯了法律——

因为它触犯了法律，这就是原因。

也就是说，也有一点点。触犯法律，这就是原因。但是所有的东西都非常流畅地连接在一起，没有

中断，没有跳音。

因为它触犯了法律，这就是原因。

因为它是——因为它是—— 只听前两个词。

因为

它是——因为它是，因为它是。你听说它有多平坦吗？我们没有那种上下起伏的形状。这些话没有重音。

然后我们将其与下一个单词“break”进行比较，那里的第一个音节确实有更多的长度

并且具有上下的形状。

因为它触犯了法律——

触犯了法律——所以我们这里还有另外两个非重读音节。 “打破”的 ING 结尾和

我们下一个大新闻之前的“the”这个词，但是让我们只用“打破法律”这三个词

，让我们听那些循环播放的音乐并听它的音乐。我们有更多的上下间距。

我们有更多的音高变化，因为这个片段有两个重读音节。

所以这与我们得到的平坦度完全不同：因为它是，因为它是，因为它是。

因为它触犯了法律——

因为它触犯了法律，这就是原因。

最后两个词，想一想：这就是为什么，这就是为什么。想想它们是一个词，

而 Y 只是一个随音调下降的非重读部分。你知道我画的没有一条线

连接它们，但这里的一切都是连接的。那里没有休息。所以当你练习时：这就是为什么，

这就是为什么，这就是为什么，不停地练习。如果这可以帮助您将它们联系起来，请将其视为一个单词，

并考虑“为什么”这个词的音高刚刚从我们在“那是”中的音高小峰上掉下来。

“那是”有一点压力，然后声音的能量会

随着下一个词“为什么”继续下去。

这就是为什么。

说不定光是说说就触犯了法律。

好的，现在在这个思想组中，您听到的音高峰值是什么？这里重读的音节是什么？

说不定光是说说就触犯了法律。

可能会破裂-那里有一点压力。说不定光是说说就触犯了法律。

对我“说话”的压力最大。好的，我们来看看这句话中还发生了什么？

说不定光是说说就触犯了法律。

第一个词，可能，他做了一个非常常见的减少，他去掉了中间音节，

所以它只是：可能。大概，大概，大概，大概。

可能——

可能只是谈论它就触犯了法律。

可能只是在谈论违反法律——法律只是在谈论——

好的，所以我们已经进入了这个高峰，我真的觉得我们在“法律”上有一点长度，然后

“只是”的音调上升为它正在走向音高的顶峰。只是谈论它。

然后“关于”和“它”这两个词从那个高峰消失了。我们有一个以 T 结尾的单词，

然后下一个单词以 T 开头，我们要用一个 T 连接那些单词，只是说话，只是说话。

你不需要尝试做两次 T。我们将使用它来连接单词。只是谈论它。

只是谈论它。

关于它。关于它。这里有点T的释放，空气逸出。这个 T，about it，about it，about it，

是一个将两个单词连接在一起的瓣，位于两个元音或双元音之间。

但是这个思想组中的一切都超级流畅，没有休息，没有跳跃，没有跳跃，

音高向顶峰移动，然后回落。

谈论它。

哦，他一个人。哦。

哦，他一个人。哦。好吧，现在他开始讽刺了。

显然，这个人不在乎这个生物是否孤独。他表现出讽刺的部分原因

是他在声音中做了很多音调变化，如果你担心的话，你可能会这样做。

他是一个人。这就像“哦，我的天哪！这太可怕了！” 所以他也这样做了。哦，他一个人。

哦。但他当然不会，他并不真正担心。讽刺。

哦，他一个人。哦。

哦，他一个人。好的，所以我们有两次“哦”。是 OH 双元音。

哦，他一个人。哦。然后我们这里的重读音节上也有 OH 双元音。

他放下 H 和“他”你听到了吗？哦，他是，哦，他是，哦，他是，哦，他是。

哦，他

是——这里的撇号 S 是 Z 音，它连接了 EE 元音和 ‘alone’ 的 schwa。

他是——他是——他是——他是——他是一个人。

哦，他一个人。

所以这里有一点休息。哦，他一个人。哦。但是让我们只关注前三个词，

它们只是，它们滑动得非常顺利，不是吗？部分原因是因为他在“he’s”中去掉了 H，

所以他从 OH 双元音直接进入 EE 元音。哦，他——哦，他——哦，他一个人。

然后通过将结尾的辅音 Z 连接到开头的元音，“单独”的 schwa，它也只是帮助

所有的声音一起去，顺利地融合在一起。哦，他一个人。

哦，他一个人。

哦，他一个人。哦。

哦。 ‘alone’ 和 ‘oh’ 上的一个重读音节的大上下形状。哦。

哦–

现在，这是否意味着–

好吧，现在我们有一个小思想组，这是他的句子的开头，他的思想，

但他放了一点休息，所以我们可以组合’现在这是否意味着– ' 一起，作为一个思想团体。

超级不清楚。听他怎么说。

现在，这是否意味着–

现在，这是否意味着– 现在，这是否

意味着– 现在，这是否

意味着– 现在，这是否意味着– 现在，这是否意味着–

我会说 peak 是“this”这个词，虽然很有趣，尽管我会说那是最高峰

和压力最大的，但我并没有真正听到 TH。这样做，这样做，这样做。 ‘does’ 的结尾 Z 音

连接到开头的元音。 IH 元音。这样做，这样做，这样做。

当这两个词放在一起时，这绝对是我听到的。这行得通吗？这是否意味着你不会在那里？

所以“这样做”肯定可以在没有那个 TH 声音的情况下联系起来。

现在，这是否意味着——

“现在”这个词，没有说得很快。现在，现在，现在，现在。

除了舌头，我嘴里什么都没有动。我的嘴唇完全放松了，我的下巴没有动，也没有掉很多。

现在，现在，现在，现在。它听起来不太像“现在”这个词，但在整个句子的上下文中，

我绝对知道那个词是什么。所以在英语中，我们有很多这样的对比，这种非

重读的东西，不太清晰，用这种更重的东西简化嘴巴的动作，这些较长的音节带有

上下形状，音高变化。

现在，这是否意味着–

现在，这是否意味着– 意味着-
“那个”这个词也减少了，我们确实有一个快速的浊音

TH在这里，我相信schwa和停止T。

那个，那个，那个，那个。不太清楚，那个意思，那个意思，那个意思。现在，这是否意味着–

意味着–

现在，这是否意味着每当我们去一家中餐馆时，你想把鱼缸里的每一条鱼都存起来？

现在我们有了一个更长的思想小组。很多话，但没有休息。因此，所有一个思想组。

让我们试着在这里思考一下我们的音高峰值。

每当我们去中餐馆时，你想把鱼缸里的每一条鱼都存起来吗？

每当我们去——关于“何时”的一点点。每当我们去中餐馆时，

你想把鱼缸里的每一条鱼都存起来吗？

音调上升，是/否问题，即使他仍然在讽刺，他在嘲笑她。

他知道她不会真的想在一家中餐馆的鱼缸里救鱼，

但他要求她让她因为谈论水中的另一种生物而感到可笑。

你看过这部电影吗？我没有。但我期待很快能看到它。

每当我们去中餐馆时，你想把鱼缸里的每一条鱼都存起来吗？

因此，让我们只看前几句话。每当我们去一家中餐馆时——无论何时——

我都把压力放错了，不是吗？这不是任何时候，而是：无论何时，无论何时。

每当我们去中餐馆时——

每当我们去 a—— 去 a——
你有没有听到他是如何把 T 做成翻盖 T 在“到”这个词中？

现在我们通常不会在单词的开头使用 T，但我注意到我们有时会

使用“to”、“today”、“tomorrow”、“ 一起'，那些T’s可以变成一个襟翼，

尤其是’to’这个词。

每当我们去a–

每当我们去a– 每当我们去a– 去a– 去a–

好吧，我们经常减少“to”一词中的元音，但他在这里没有这样做，他将其保留为 OO 元音。

我们通常将其简化为 schwa。他不这样做的原因是因为它后面跟着一个施瓦。

我的意思是他没有考虑到这一点，但这就是，这就是习惯的养成方式。

当 ‘to’ 中的元音后跟 schwa 时，我们不会将其简化为 schwa，因为这样

我们就不会失去定义。因此，通过保留 OO 元音，我们将其作为自己的词来听。

去一个——去一个——去一个——去一个——去一个——去一个——试试那个。

Go to a– go to a– 每当我们去 a–

所以它仍然很顺利连接，不是吗？

去a–去a– 每当我们去一家中餐馆。

所以我们这里有两个两个音节的词。中国餐厅。餐厅。再说一次，对于

“餐厅”这个词，就像“可能”这个词一样，res-tau-rant，你可能会听到这三个音节，但大多数

母语为两个音节。休息。餐厅。餐厅。试试看。

餐厅。

他在最后停下来。这有点

鼻塞，因为之前的声音是鼻辅音 N.

Restaurant。试试看。餐厅。第一个音节重音。

餐厅——

你想拯救鱼缸里的每一条鱼吗？

现在让我们看看这个思想组的其余部分。它在节奏上有很大的让步。

你想拯救鱼缸里的每一条鱼吗？哒哒哒哒哒哒哒。

我喜欢那个。我喜欢听语言的节奏。所以他把“想要”这个词，“想要”这个词

简化为“想要”。所以对你来说，听起来像这样：你想要，你想要，你想要，你想要，你想要。

你想保存。你想保存。

你想拯救——

鱼缸里的每一条鱼？

保存每一个，然后是下一个单词，两个音节都变平，音高变低，然后我们有fish，

up down shape，重读，然后还有两个未重读的单词，音高变平。

在，在，在。在坦克？这旋律，这句话真的很棒。

保存鱼缸里的每一条鱼？

那如果他一个人呢。

他的声音到最后有点奇怪，独自一人，

有点像他在举起重物一样。但是让我们看看这个五个字的小思想组。

那如果他一个人呢。

那如果他一个人呢。所以呢。 ‘what’ 是那里最强调的，‘so’ 上升到它。那如果他一个人呢。

“单独”的重读音节也有一点重音。

那如果他一个人呢。

那么，如果他是- 如果- 如果- 如果- 如果- 如果- T 发生了什么事呢？

是一个襟翼，不是吗？他在襟翼 T 处连接两个词，它位于两个元音之间。

万一，万一，万一，万一。

那么如果，如果，如果他一个人，那又如何。

如果他是–如果他是–如果他是– 再一次，他在“he’s”中去掉了 H，所以只有 EE 元音

和 Z 辅音。他——如果他是，如果他是，如果他是，如果他是一个人怎么办。

Z 直接连接到下一个单词的开头声音，schwa，单独，单独。

那如果他一个人呢。

那如果他一个人呢。我们都是孤独的。

好的，然后是一个非常含糊的三字思想组。我们都是孤独的。声音能量低，因此它具有

爆米花般的声音质量，声带没有完全接合。那声音悄悄传来。

我们都是孤独的。

我们都是孤独的。强调“所有”这个词，但整个事情的音调真的很低，能量很低。

我们都是孤独的。

你见过最孤独的事？好吧，你刚刚说过——

现在，他开始说得更快了。你见过最孤独的事？好吧，你刚刚说过——

他将第一个想法直接与第二个想法联系起来，没有中断。

你见过最孤独的事？好吧，你刚刚说过——

你见过的最孤独的事情？好吧，你刚刚说过——

你见过的最孤独的事情？
‘ev’ 有点压力，

你见过，‘seen’ 有点长，但他甚至没有真正完成它。他刚开始

N 就开始进入 W 结束那个思想组。

你见过最孤独的事？好吧，你刚刚说过——

你见过的最孤独的事情？好吧，你刚刚说过——

你见过的最孤独的事情？我实际上会收回我在那里施加的压力。我真的听不见。

你见过最孤独的事？

你曾经做过的最孤独的事情——你曾经做过的最孤独的事情——它真的应该在“事物”上。

你见过最孤独的事？

现在，这一切都非常顺利地联系在一起，让我们来谈谈他是如何做到的。 ‘loneliest’ 中的 T 被删除。

在其他两个辅音之间去掉 T 的情况并不少见。在这里，它出现在 S 之间，它出现

在“thing”中的清音 TH 之间，他放弃了 T。这有助于他将这两个词联系起来。

最孤独的事。最孤独的事。

最孤独的东西——最孤独
的东西——你见过的最孤独的东西？

你见过的东西 - 你见过的东西 - NG 直接链接到下一个单词，你已经，但我

没有真正听到 VE，我知道它在语法上使它工作，但是我真的没有听到那种声音。

你见过，你见过，你见过，你见过。

所以我认为因为它的音调很低，它没有重读，它说得很快，

我认为你可以像这样把这两个词放在一起说这些没有重读的品质，

而不用放一个 V 音。你见过，你见过，你曾经，你曾经，你曾经，你曾经，你曾经。

很不清楚，不是吗？

你见过——

所以与其说：见过，见过，不如说：见，见，见。 S, EE 元音，鼻音的开头，

但他停下来直接进入下一个单词，嗯。

你见过吗？好吧，你刚才说了——

看到了吗？好吧，你刚刚说了——所以能量正在上升到“说”的音调。

刚说。 “好”这个词，不是很清楚。

好吧，你刚刚说过–

我会用schwa来写。好，好，好，好，好。有点快的W，然后是暗L的声音，好，好，好。

好吧，
你–

好吧，你–好吧，你–好吧，你–好吧，你只是–好吧，你只是–好吧，你刚刚说了–好吧，你刚刚说了–会发生什么到这个T？它出现在两个辅音之间，你听到了吗？

好吧，你刚刚说了–

不，它被放弃了。刚说，刚说。这两个词连在一起形成一个S音，

那个声音没有停止和重新开始，它只是把它们连在一起。

你刚刚说了–

说了–说了–说了–这里，D出现在两个元音之间，听起来也

像元音之间的拍打D . 听起来就像元音之间的 T，舌头的拍打。

说了——说了——说了——

说了——

对了，你刚刚说了。

听“正确”这个词。

对了，你刚才说了。

这有点像耳语，不是吗？不是很清楚。如果有人走到我面前说这个词，

我就听不懂了。但是在给予和接受的背景下，一个完整句子的重读和非重读

品质，我确实明白了。但它是平坦的，能量低，最后停止T。

对了，你刚才说了。

你刚才说了。你刚才说了。你刚才说了。
一开始有点笑声，

然后又是另一个“刚刚说”，T被丢弃，两个单词用一个S音连在一起。

你刚才说了。

你刚才说了。你刚才说了。你刚才说了。
只是，再长一点，“说”再长一点，

可能是重音的高峰，再一次，我们在这里有一个襟翼，

将两个词连接在一起，又是一个停顿。

你刚才说了。

你刚才说了。
你把它叫做一件事。

你把它叫做一件事。

称它为一件事。他用手比划着，以配合那种压力。对“被叫”有一点压力。

称它为一件事。最强调“事物”这个词。另外两个词，对不起，另外三个词，

音调更平，没有减少，没有声音被丢弃或以不寻常的方式改变。

T是一个襟翼T。它a，它a，它a。

将 IH 元音和文章 ‘a’ 的 schwa 连接在一起。

你称它为——你称它为——你称它为事物。

你把它叫做一件事。

ED 以单词 ‘call’ 结尾是单个 D 音，因为之前的声音是浊音，即 L 音。

叫它一个——叫它一个——叫它一个东西。

你把它叫做一件事。

你把它叫做一件事。这是一回事。这是一个怪胎。

这是一回事。这是一个怪胎。
我们在这里的压力是什么？

这是一回事。这是一个怪胎。

这是一回事。强调事情。这是一回事。这是一个怪胎。甚至对“怪胎”的压力更大。

这是一个 - 两次，音高平坦，导致压力。这是一个，这是一个，这是一个东西。这是一个怪胎。这是一回事。这是一个怪胎。

这是一回事。这是一个怪胎。

真的很顺利的联系在一起。因此，请确保您没有将文章发音为“a”或“ah”，

因为它是 uh，uh，uh。它比“啊”快，不是吗？

呃。呃。一个，一个，一个，一个，一个，一个。这是一回事。这是一个怪胎。

这是一回事。这是一个怪胎。

让我们再听一遍整个对话。

你在说什么？

不，绝对不是。

因为它触犯了法律，这就是原因。说不定光是说说就触犯了法律。

哦，他一个人。哦。

现在这是否意味着每当我们去中餐馆时，你想把鱼缸里的每一条鱼都存起来？

那如果他一个人呢。我们都是孤独的。

你见过最孤独的事？好吧，你刚刚说了，对，你刚刚说了，你把它叫做一件事。

这是一回事。这是一个怪胎。

我们将一起进行更多此类分析。

您希望看到这样分析的哪些电影场景？

在评论中告诉我！如果你想看我所有的本富兰克林视频，点击这里。

您还可以在视频说明中找到该链接。

就是这样，非常感谢您使用 Rachel 的英语。