Taylor Swift Calm Down Learn English

It’s finally here. Today, we’re learning English with song. That is Taylor Swift’s ‘Calm Down’.

Calm down. A phrasal verb. In this video, there’s a lot of fun stuff happening with language,

a fun play on words, and of course, we’ll also do an in-depth study of the pronunciation.

Let’s get started.

You are somebody that I don’t know.

So one of the reasons why i’ve sometimes hesitated to use music

to teach English is that when we sing, we sometimes do things differently.

And her opening line is a great example.

She stresses: You are somebody– She
stresses the last syllable

and that is not how we stress that in spoken English.

You’re somebody.

You’re somebody that I don’t know. Is what we’d say.

You’re somebody. So we would very likely make this a contraction when speaking, but she doesn’t, she says:

you are, and then she stresses the final syllable.

So just know that in spoken English, it’s not somebody, but it’s somebody, stress on some.

Somebody. I’ll put that in parenthesis.

Because if you’re wanting to know how to sing it like her,

then you’ll definitely want to be stressing that last syllable.

You are somebody–

You are somebody–

You are somebody that I don’t know.

But the rest of the sentence is exactly like it would be in spoken English.

That I don’t know. That I, that I. That I– linking with a flap, so it’s not that, it’s not a true T, but it’s a flap.

That I, that I, that I. That links right into the AI as in buy diphthong for the letter I. That I, that I, that I.

And then ‘don’t know’. With N apostrophe T contractions, there are several different ways

that we can pronounce them. One of them is by totally dropping the T, and that’s what she does.

So we have an ending N, a beginning N,
the K is silent of course,

and she links them together with a single N and that is a common pronunciation.

Don’t know, don’t know, don’t know.

Don’t know, don’t know, don’t know.

So in both ‘don’t’ and ‘know’, there’s an OH diphthong.

That can change. Don’t can be reduced to something more like the UH as in butter, or the schwa.

But it also doesn’t have to be, she doesn’t do it: don’t know, don’t know, do oh oh, know oh oh.

Both the OH diphthong.

Don’t know, don’t know, don’t know.

But you’re taking shots at me like it’s Patron.

But you’re taking– Okay so many times in singing, ING words get turned into IN words.

So that means they go from the IH vowel plus NG, which actually sounds like the EE vowel plus NG,

to the IH vowel, N. Takin' Takin' Takin'.

So that happens a lot in music, and we can write it with this apostrophe symbol, instead of the G.

Takin' Takin'.

But you’re taking–

But you’re taking–

But you’re taking–

Let’s look at the first two words. She does a reduction here. What are you hearing?

But you– But you– But you–

But you– But you– But you–

The T plus Y this can get turned into a CH
and that happens.

If I was going to pronounce it more clearly, I would say: But you’re– But you’re– ch ch ch–

You can definitely hear that CH.

But actually she’s taking the word,

the contraction ‘you’re’ which can be reduced to yer and she’s actually dropping the R sounds completely.

But you– But you– But you–

I hear that just as the schwa. But you– But you– But you– I would even write the first syllable ‘but’ with the schwa.

Buh, buh, But you– But you– But you– So T and Y combined to make a CH

and both vowels there are a schwa, it’s said really quickly, not too clearly,

definitely doesn’t sound like ‘but your’,

but that’s not how we would say it in spoken English either, we use reductions all the time.

But you– But you– But you–

I think it’s not very common to drop the R sound in spoken English, I would definitely say,

But you’re– ur ur ur ur.

And I would make more of an R sound in speaking,

but R do get dropped in some English, and that’s what’s happening here.

But you– But you– But you’re taking–

But you’re taking–

But you’re taking–

But you’re taking–

So ‘but you’re’ reduced, less clear, take, we have more stress there, that’s a true T.

The T at the beginning of a stressed syllable is always a true T, unless it’s part of the TR cluster,

then it might be a CHR sound. Train– but for just a plain T, tay– taken, taken, it is that true T sound.

Taking– taking– taking–

Notice that’s the first true T sound that we’ve had in this sentence, and there are three T’s before it.

There’s a T sound in ‘that’ think it turns into a flap T, there’s a T sound in ‘don’t’, that gets dropped,

and there’s a T sound in ‘but’ that combines with the Y to turn it into a CH.

We’re talking a lot about T pronunciations. If all of these terms, flap T, stop T, are new to you,

check out the video playlists that I have on T pronunciations,

you can click here or in the video description.

But you’re taking shots at me like it’s Patron.

Our other stressed syllables here: but you’re taking shots at me like its patron.

Both of those have a little bit of a stressed feeling.

But you’re taking shots at me like it’s Patron.

But you’re taking shots at me like it’s Patron.

But you’re taking shots at me like it’s Patron.

‘Shots’ and ‘at’ less stressed, and this ING or IN ending always unstressed

in spoken English, and it’s unstressed
here in the song too.

What about the word ‘at’?

Shots at me– shots at me– shots at me–

Stop T: shots at me– at at at me, at me. It’s not: at me– it’s not released, that would be a true T.

T is usually not a true T.

If you take all of the times, you’d see the T sound in a dictionary,

less than half of the time is it pronounced that way, it’s either a stop T or a flap T or maybe it’s dropped

or maybe gets turned into a CH.

I don’t think she reduces the vowel here, I do think it’s: at, at, at me, at me, at me.

At me– at me– at me–

Also let’s talk about the word ‘shots’ quickly, we have the letter O. Don’t let that fool you.

It’s the AH as in father vowel. Sho– shots, shots. No lip rounding. A little bit of jaw drop. Shots. Shots at me.

Shots at me. Shots at me. Shots at me like it’s patrón.

Patrón, patrón.

Okay so did you notice the TR there? It was not tttron, but it’s chch chron.

That’s really common with the TR cluster, it gets turned into a CHR. Patrón. Patrón.

Now, in spoken English there wouldn’t be stress on the first syllable, it would just be: patrón, patrón.

We would say that with the schwa.

Stress on the second syllable.

Patrón. Patrón. Patrón.

But she says: patrón. Patrón. Patrón. She does more of a stress on both syllables.

Patrón. Patrón.

Shots at me like it’s patrón.

What does this mean? What does it mean to take shots?

There are two meanings and she’s using that as a play on words here.

To ‘take a shot’ at somebody means to criticize them, to verbally attack them,

it can be to make fun of them, sort of in a belittling way. So that’s when you take a shot at somebody.

If you take a shot at something, then the meaning is very different.

To take a shot at something means to try something.

For example, i’ve never made this kind of video before where I use

a song to teach English, but I’m gonna take a shot at it. I’m going to try it. Now another meaning for ‘take shots’

and this is where Patrón comes in, means to take a shot glass size of alcohol and drink it all at once.

So it’s a little play on words there, talking about you’re taking shots at me, at you’re criticizing me,

but then to turn it into like its Patrón,

as if it’s a Saturday night, you’re partying, you’re out, and you’re taking shots like crazy.

But you’re taking shots at me like it’s Patron and I’m just like damn.

And I’m just like damn.

The word ‘and’ reduced, she drops the D, that’s true in spoken English we almost never say that D.

The vowel is reduced, it’s not aa and, but it sounds a lot more like: an, an I’m just, an I’m just,

an I’m just like damn.

And I’m just like damn.

And I’m just like damn.

And I’m just like damn.

Okay here, we have another T,

now the T in ‘just’ is dropped pretty much every time it’s followed by a word that begins with a consonant.

So when the T comes between two consonants, it’s really common to drop it.

This is true of spoken English. And I’m just like. And I’m just like. And it’s true of the song as well.

So she drops the T sound, links the S directly into the L.

And I’m just like.

And I’m just like.

And I’m just like.

And I’m just like damn.

And I’m just like damn.

Okay, you’re not really hearing a K sound

fully either that’s because it’s a stop
consonant, and it’s not released.

It’s also common in spoken English to drop the released endings of stop consonants.

It’s especially true of T, but it also happens with K,

especially when the next word begins with a consonant as it does here.

And I’m just like damn.

So what is she doing with that K? She does lift her tongue in the back, it does stop the air,

but then she doesn’t release it. I’m just like. I’m just like.

Instead of releasing that sound, she goes right on to the next sound, which is the D.

And I’m just like damn.

And I’m just like damn.

And I’m just like damn.

Damn. The N and damn is silent, always is, spoken English, sung English.

If you look this word up in the dictionary, you’ll see that the pronunciation is the D consonant,

the AH and the M consonant.

However, when AH is followed by M, also when it’s followed by N, the sound changes.

If it didn’t change, it would sound like this: dd– ah– mm– dam, dam. But that’s not what it is, it’s: damn.

That’s how we say it: damn.

Damn.

And so that AH vowel is a little bit more relaxed, and it shifts into an UH as in butter sound, on the way to the M.

So the back of the tongue relaxes.

The tongue lifts for the AH vowel, and then it relaxes before the M.

Daa– daa– damn.

Otherwise, damn, damn, damn.

That’s not gonna sound very American. Damn.

Bringing that tongue relaxation in the back in will make it sound American. Damn.

Damn. Damn. Damn, It’s 7 AM.

It’s seven.

So let me write out the word ‘seven’. Notice that we have a word that ends in an S sound, it’s se–

And a word that begins with an S sound, we do link those, single S sound, true in spoken English too.

It’s seven, it’s seven, it’s seven.

It’s seven, it’s seven, it’s seven AM.

It’s seven AM. So she puts stress on se– which is the stressed syllable of ‘seven’

and then on the last word M, AM. In conversational English, we probably wouldn’t stress it that way.

We would say something more like: it’s seven AM. It’s seven AM.

So it has a little bit of stress in the phrase AM, it is the stressed word,

now I would stress it like that if I was maybe frustrated that I had gotten woken up early: It’s seven AM.

If I really wanted to bring stress at the time then I would do it that way.

But in more normal conversational English, it would simply be: It’s seven AM.

It’s seven AM.

It’s seven AM.

It’s seven AM.

Say it in the street, that’s a knock-out.

Say it in the street–

Say and Street, our two content words there, those are the words that would be stressed in spoken English,

and those are the words that she stresses.

Say it in the street.

Say it in the street–

Say it in the street–

Say it in the street–

She does a stop T in ‘it’. Say it in, say it in, say it. It’s not: say it, say it in, say it in. But it’s a stop.

In spoken English, it would be really common to make that a flap. Say it in the, say it in the, say it in the.

We often make a T a flap T when it comes between two vowel sounds, but sometimes, we make a stop T.

That’s what she did. Say it. Say it in the. Say it in the. It, in, and the, are all a little bit quieter,

they don’t have as much volume to them.

Say it in the street.

Say it in the street–

Say it in the street–

Say it in the street–

The word ‘Street’ we have two t’s, the
second T is a stop T,

that’s very common when it’s at the end of a sentence, when there’s a little break in speech,

which is what happens here, it’s the end of the line.

Street. Street. Street.

Street. Street.

Now, the middle T, how is that pronounced?

Street. Street. Street.

It’s sort of like a really soft D. Street. Street. Street. So it’s not a CH, which sometimes happens.

Street.

You’ll definitely hear that. It’s also not a
true T. Street. Street.

But it’s sort of more like a soft D. Street. Street. Street.

Street. Street. Street. That’s a knock-out.

So the next four words,

they’re all on the same pitch, but one definitely feels more stressed, and that’s the word ‘knock’.

That’s a knock-out.

And she does that stress with volume.

That’s a kno– knock–

That’s a knock-out.

That’s a knock-out.

That’s a knock-out.

So when I’m talking about spoken English with my students, I’m often talking about a change in pitch,

but that’s not the only thing that brings about a stress feeling, it’s also length and then things like volume.

And all of these words linked together smoothly. That’s a knock, that’s a knock–

The letter A is the schwa here, uh. That’s a, that’s a, that’s a. And it links these words together.

That’s a kn– that’s a kno– that’s a knock-out.

That’s a knock-out.

That’s a knock-out.

That’s a knock-out.

Now here, the ending K sound, she does release it right into the diphthong,

so when a stop consonant is followed by a vowel or diphthong,

then we do usually release it, linking it into the next word: ckout– ckout– knock-out.

Knock-out.

Knock-out. Knock-out. Knock-out.

How is this T pronounced?

Knock-out.

Knock-out.

Knock-out.

It’s a stop T.

If you feel like I don’t hear it at all,

that makes sense. A stop T is when the air stops more abruptly, but it’s not released.

So it’s different from a drop T, in that knockout, out, out, the word stops more abruptly.

If it was totally dropped, it would probably sound more like ‘ow’ but it’s: out, out.

That abrupt stop is the stop consonant.

To our American ears, it sounds like a T, even though if you’re waiting to hear the tt release,

you might not hear it at all, and it might feel like a dropped T to you.

But try to think of it as a stop T. Try to think of that abrupt stop as being a sound in and of itself.

Knock-out.

Knock-out.

Knock-out.

What does this phrase mean? So if you’re going to take a shot at somebody, you’re going to criticize them.

She’s saying that if you say that on the street, you say it in public, you say it in person,

maybe you say it to the person’s face, that that’s a knock-out. That’s something that can hurt somebody.

That’s something that packs a punch, that feels real.

But you say it in a tweet, that’s a cop out.

But then she goes on: if you say it in a tweet, that is if you say it online, you don’t say to somebody’s face,

that’s a cop-out. What does cop-out mean? A cop-out is when you don’t do

the thing that you should do because it’s a
little bit easier not to.

Right, if you really truly want to criticize somebody,

saying it to their face is the right thing to do. Engaging them in a real conversation.

Criticizing somebody online, it’s a huge problem in today’s culture, it’s so easy

to be nasty online, and people do it way too often.

And she’s saying to express criticism of people like this online is a cop-out.

But you say it in a tweet, that’s a cop out.

You can get really nasty online. It’s harder to be that nasty in person.

On a side note, I know a youtuber who got a grant to fly around the world

and have people read the nasty comments they put on his youtube channel in person.

And very few people agreed to meet with him and he found that when they did meet with him,

they didn’t want to say what they had written.

It was so mean, it was so hurtful, they were embarrassed to say it to his face,

to look at another human and actually say it.

So I think that’s an interesting illumination of what Taylor Swift is talking about here.

It’s very easy to be nasty online. But we don’t actually really want to be that nasty in person in general.

So let’s talk about how she says the next line.

But you say it in a tweet, that’s a cop out.

But you say it in a tweet, that’s a cop out.

But you say it in a tweet, that’s a cop out.

Let’s talk about stress, first of all.

But you say it in a tweet, that’s a cop out.

Those are the most stressed words. Everything links together pretty smoothly.

Let’s talk about the first two words: but you– that’s not how they’re pronounced. They’re not: but you.

But you– but you– but you–

But you– but you– but you–

I would write that with the B and the schwa, and then again she combines the T and the Y to make a CH sound,

which we would actually write an IP with these symbols.

But you– but you– but you– but you–

This would be a common way to say these two words in spoken English too.

But you said it already. But you– but you– but you–

But you– but you– but you say it–

But you say it– but you say it– say it–The AY diphthong of say links really smoothly into the IH vowel of ‘it’.

Say it– say it– I found sometimes my students don’t like linking vowel or diphthong sounds together

because it feels too smooth, too sloppy, definitely it happens in some English,

but it also happens in spoken English. Say it. Say it.

Say it– say it– say it–

We don’t want a break there.

She does do another stop T in it. Say it. Say it. Say it in a– say it in a–

And the words in and the schwa of a, say it in a, in a, in a, link together really smoothly.

Say it in a– say it in a– say it in a tweet–

Tweet– tweet–

So the first T there begins a stressed syllable that is a true T.

Tweet– tweet– and again, a stop T, tweet– it’s not twee– where the sound sort of falls off, that would be a Drop T,

but it’s: tweet– abrupt stop, that is the stop T, the unreleased T.

Very common in spoken English as well.

Say it in a tweet–

Say it in a tweet–

Say it in a tweet, that’s a cop-out.

That’s a cop-out. That’s a– that’s a–

Again, the letter A is just the schwa, and it links the words together, that’s a cop, that’s a cop.

Just like in the word ‘shot’, the letter O here, it makes the AH as in father vowel.

Don’t try to round your lips or make anything more closed.

Co– cop out– cop out–

That’s a cop-out.

That’s a cop-out.

That’s a cop-out.

The word ‘out’ is the OW as in now diphthong, I feel like she doesn’t do very much of a diphthong.

Ow, ow, it’s more like cop-ah, ah– it’s more like just the first sound, so I’m gonna put that in parenthesis.

And then again, a stop T.

Not released, not out.

Cop-out. Cop-out. Cop-out. And I’m just like, hey–

Okay, there’s a break here, so in this line, and I’m just like hey. Hey is definitely the most stress word there,

up down shape, just like in spoken English.

Hey. And I’m just like hey.

And I’m just like, hey–

And I’m just like, hey–

And I’m just like, hey–

The word ‘and’ again, reduced, it sounds a lot more like the word ‘in’ said quickly, unstressed,

and I’m just like–

Again, the T is dropped,

comes between two consonants, these words link together, there’s no T sound.

And I’m just like—

And I’m just like–

And I’m just like–

And I’m just like–

And again, I don’t really hear the kk, released sound of the K. Again, that’s a stop.

And I’m just like–

And I’m just like–

And I’m just like “Hey, are you okay?”

Are you okay? Are you okay?

A lot of stress, up-down shape on that second syllable.

Are you okay?

Are you okay?

Are you okay?

If I were going to ask a friend if he or she was okay, my pitch would go up: are you okay?

Because it’s a yes/no question. But here, she’s saying it more like a statement. The pitch goes down.

Are you okay?

Hey, are you okay?

Basically she’s saying if you need to go online and troll people, and be really nasty, then

maybe you’re not doing that well.

Are you okay?

Are you okay?

Are you okay?

Are you okay?

Now we all know the music industry polices very heavily the use of its content online in videos like this.

Now of course, this video is for educational purposes, but will the music industry see it that way?

Will they care? I don’t know.

That’s why I’m going to stop here.

We haven’t done the whole song yet, but this video could get taken down, and I would hate to see that happen.

So this is sort of a test. Let’s see, can this video survive the music industry?

If it does, I’m absolutely going to do a follow-up video where I do the rest of this song.

So please let me know in the comments below if you like to learn this way maybe you’re gonna buy a Taylor song

let me know in the comments. Maybe that will help prevent this video from getting taken down.

If there’s another song you would like to see me analyze this way, then also let me know in the comments below.

If someone has already put the song that you like, then just like that comment.

That will help me find the most popular requests.

The next great video for you to watch

would be this video from my Learn English With Movies Summer series.

It’s similar, we also do this speech analysis to study how the voice is used in American English.

Guys, I love teaching you English.

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

它终于来了。 今天，我们正在用歌曲学习英语。 那是泰勒斯威夫特的“冷静”。

冷静。 一个短语动词。 在这个视频中，有很多有趣的事情发生在语言上

，有趣的文字游戏，当然，我们也会对发音进行深入研究。

让我们开始吧。

你是一个我不认识的人。

所以我有时犹豫用音乐教英语的原因之一

是当我们唱歌时，我们有时会做不同的事情。

她的开场白就是一个很好的例子。

她强调：你是某个人——她
强调最后一个音节

，而我们在口语中不是这样强调的。

你是某人。

你是我不认识的人。 就是我们要说的。

你是某人。 所以我们很可能会在说话时把它变成缩略词，但她没有，她说：

你是，然后她强调最后一个音节。

所以只要知道在英语口语中，它不是某人，而是某人，强调一些。

某人。 我会把它放在括号里。

因为如果你想知道如何像她一样唱歌，

那么你肯定会想强调最后一个音节。

你是某个人——

你是某个人——

你是一个我不认识的人。

但是句子的其余部分与英语口语完全一样。

我不知道。 那个我，那个我。那个我——与一个襟翼相连，所以不是那个，它不是一个真正的T，但它是一个襟翼。

那个我，那个我，那个我。那个链接到人工智能，就像为字母 I 买双元音一样。那个我，那个我，那个我。

然后“不知道”。 对于 N 撇号 T 收缩，我们可以通过几种不同的方式

来发音它们。 其中之一是完全放弃T，这就是她所做的。

所以我们有一个结尾 N，一个开头 N
，当然 K 是无声的

，她用一个 N 将它们连接在一起，这是一个常见的发音。

不知道，不知道，不知道。

不知道，不知道，不知道。

所以在“不要”和“知道”中，都有一个 OH 双元音。

这可以改变。 不能将其简化为更像黄油中的 UH 或 schwa 的东西。

但也不一定，她不这样做：不知道，不知道，做哦哦，知道哦哦。

都是 OH 双元音。

不知道，不知道，不知道。

但你在向我开枪，就像它是赞助人一样。

但你正在接受——好吧，在唱歌的时候，ING 词变成了 IN 词。

所以这意味着它们从 IH 元音加 NG（实际上听起来像 EE 元音加 NG）

到 IH 元音 N. Takin' Takin' Takin'。

所以这在音乐中经常发生，我们可以用这个撇号来代替 G.

Takin' Takin'。

但你正在接受——

但你正在接受——

但你正在接受——

让我们看看前两个词。 她在这里做减法。 你在听什么？

但是你– 但是你– 但是你–

但是你– 但是你– 但是

你– T 加Y 这可以变成一个CH
并且会发生这种情况。

如果我要更清楚地发音，我会说：但你是——但你是——ch ch ch——

你肯定能听到那个CH。

但实际上她正在接受这个词

，收缩“you’re”可以简化为yer，她实际上完全放弃了R的声音。

但是你–但是你–但是

你–我听到的就像 schwa 一样。 但是你——但是你——但是你——我什至会用schwa写第一个音节“但是”。

Buh,buh, But you– But you– But you- 所以 T 和 Y 组合成一个 CH

，两个元音都有一个 schwa，它说得很快，不是太清楚，

绝对不像’但是 你的'，

但这也不是我们在口语中的表达方式，我们一直使用缩减。

但是你——但是你——但是

你——我认为在英语口语中去掉R音并不常见，我肯定会说，

但你是——你的你的你的。

我会在说话时发出更多的 R 音，

但在某些英语中 R 确实会掉线，这就是这里发生的事情。

但是你——但是你——但是你正在服用——

但是你正在服用——

但是你正在服用——

但是你正在服用——

所以“但是你”被简化了，不太清楚，服用， 我们在那里有更多的重音，那是一个真正的T。

重读音节开头的T总是一个真正的T，除非它是TR集群的一部分，

那么它可能是一个CHR声音。 火车——但对于一个简单的 T，tay——采取，采取，这是真正的 T 声音。

Take–taking–taking–

注意这是我们在这个句子中第一个真正的 T 音，在它之前有三个 T。

‘that’ 中有一个 T 音，认为它变成了一个拍音 T，‘don’t’ 中有一个 T 音，会被丢弃，

‘but’ 中有一个 T 音，它与 Y 结合将它变成一个 CH。

我们经常谈论 T 的发音。 如果所有这些术语，flap T，stop T，对你来说都是新的，

查看我关于 T 发音的视频播放列表，

你可以点击这里或在视频描述中。

但你在向我开枪，就像它是赞助人一样。

我们这里的其他重读音节：但你像它的赞助人一样向我开枪。

这两个都有一点压力的感觉。

但你在向我开枪，就像它是赞助人一样。

但你在向我开枪，就像它是赞助人一样。

但你在向我开枪，就像它是赞助人一样。

‘Shots’ 和 ‘at’ 压力较小，而这个 ING 或 IN 结尾在英语口语中总是不重读，

歌曲中也没有重读。

“在”这个词怎么样？

朝我开枪——朝我开枪——朝我开枪——

停止T：朝我开枪——朝我开枪，朝我开枪。 不是：对我来说——它没有发布，那将是一个真正的 T。T

通常不是一个真正的 T。

如果你把所有的时间都记下来，你会在字典中看到 T 的声音，

不到一半 时间是这样发音的，它要么是停止 T 要么是襟翼 T 或者它

可能被丢弃或者可能变成一个 CH。

我不认为她在这里减少元音，我认为它是：在，在，在我，在我，在我。

对我——对我——对我——

另外让我们快速谈谈“射击”这个词，我们有字母 O。不要让那个骗了你。

它是父元音中的 AH。 嘘——射击，射击。 没有圆唇。 有点下巴掉了。 镜头。 朝我开枪。

朝我开枪。 朝我开枪。 像赞助人一样向我开枪。

赞助人，赞助人。

好的，你注意到那里的TR了吗？ 不是tttron，而是chch chron。

这在 TR 集群中很常见，它变成了 CHR。 赞助人。 赞助人。

现在，在口语中，第一个音节没有重音，它只是：patrón，patrón。

我们会用 schwa 这么说。

重读第二个音节。

赞助人。 赞助人。 赞助人。

但她说：赞助人。 赞助人。 赞助人。 她对两个音节都做了更多的强调。

赞助人。 赞助人。

像赞助人一样向我开枪。

这是什么意思？ 拍照是什么意思？

有两种含义，她在这里用它来玩文字游戏。

对某人“开枪”意味着批评他们，口头攻击他们

，可能是取笑他们，有点贬低。 这就是你向某人开枪的时候。

如果你对某事进行拍摄，那么意义就大不相同了。

尝试某事意味着尝试某事。

例如，我以前从未制作过这样的视频，我用

一首歌来教英语，但我会试一试。 我要试试。 现在“拍摄”的另一个含义

，这就是 Patrón 的用武之地，意思是拿起一杯大小的酒，然后一次喝完。

所以这里有点玩文字游戏，说你在对我开枪，你在批评我，

但后来把它变成了它的赞助人，

就好像这是一个星期六晚上，你在聚会，你 重新出去，你正在疯狂地拍摄。

但是你在向我开枪，就像它是赞助人一样，我就像该死的一样。

我就像该死的一样。

‘and’这个词减少了，她去掉了D，这在英语口语中是真的，我们几乎从不说

D。元音减少了，不是aa and，但听起来更像：an，an I’m just， 我只是

，我就像该死的一样。

我就像该死的一样。

我就像该死的一样。

我就像该死的一样。

好的，我们有另一个

T，现在“just”中的 T 几乎每次后面跟着一个以辅音开头的单词时都会被删除。

所以当 T 出现在两个辅音之间时，去掉它真的很常见。

英语口语也是如此。 而我就是这样。 而我就是这样。 这首歌也是如此。

所以她放弃了 T 音，将 S 直接连接到 L。

我就是这样。

而我就是这样。

而我就是这样。

我就像该死的一样。

我就像该死的一样。

好吧，你也没有真正完全听到 K 音

，因为它是一个停止
辅音，它没有被释放。

在英语口语中删除停止辅音的释放词尾也很常见。

T 尤其如此，但 K 也会发生这种情况，

尤其是当下一个单词以辅音开头时，就像这里一样。

我就像该死的一样。

那么她拿那个K做什么呢？ 她确实在后面抬起了舌头，它确实停止了空气，

但她没有释放它。 我就是这样。 我就是这样。

她没有释放那个声音，而是直接进入下一个声音，即 D。

我就像该死的一样。

我就像该死的一样。

我就像该死的一样。

该死。 N 和该死的是沉默的，永远是，说英语，唱英语。

如果你在字典里查这个词，你会看到发音是D辅音

、AH和M辅音。

但是，当 AH 后面跟着 M 时，同样当它后面跟着 N 时，声音会发生变化。

如果它不改变，它听起来像这样：dd– ah– mm– dam，dam。 但事实并非如此，它是：该死的。

这就是我们所说的：该死。

该死。

所以 AH 元音稍微放松了一点，它变成了一个 UH，就像黄油音一样，在通往 M 的路上。

所以舌头的后部放松了。

AH 元音时舌头抬起，然后在 M.

Daa-daa-damn 之前放松。

否则，该死的，该死的，该死的。

这听起来不会很美国。 该死。

把舌头放松放在后面会让它听起来很美。 该死。

该死。 该死。 妈的，早上七点。

七点了。

所以让我写出“七”这个词。 请注意，我们有一个以 S 音结尾的单词，它是

se– 一个以 S 音开头的单词，我们确实将它们联系起来，单个 S 音，在口语中也是如此。

七，七，七。

七点，七点，七点。

现在是早上七点。 所以她把重音放在 se——这是“七”的重读音节

，然后放在最后一个词 M，AM 上。 在会话英语中，我们可能不会那样强调它。

我们会说类似的话：现在是早上七点。 现在是早上七点。

所以它在短语 AM 中有一点重音，它是重音词，

现在我会像这样强调它，如果我可能因为早起而感到沮丧：现在是早上 7 点。

如果我当时真的想带来压力，那么我会这样做。

但在更正常的会话英语中，它只是：现在是早上 7 点。

现在是早上七点。

现在是早上七点。

现在是早上七点。

在街上说，那是淘汰赛。

在街上

说——说和街，我们在那里的两个内容词，那些是英语口语中会强调

的词，那些是她强调的词。

在街上说。

在街上说 - 在街上

说 -

在街上说 -

她在“它”中做了一个停 T。 说进去，说进去，说出来。 这不是：说出来，说进去，说进去。但它是一个停止。

在英语口语中，做一个翻盖是很常见的。 说在中，说在中，说在中。

当它出现在两个元音之间时，我们经常发出一个拍音 T，但有时，我们会发出一个停音 T。

这就是她所做的。 说吧。 中说。 中说。 它、in 和 the 都比较安静，

它们没有那么大的音量。

在街上说。

在街上

说——在街上说——

在街上说——

“街”这个词我们有两个 t，
第二个 T 是停顿 T，

这在句尾很常见 ，当讲话有一点中断时，

这就是这里发生的情况，这就是行的结尾。

街道。 街道。 街道。

街道。 街道。

现在，中间的T，怎么发音？

街道。 街道。 街道。

这有点像一条非常柔软的 D. Street。 街道。 街道。 所以它不是有时会发生的 CH。

街道。

你肯定会听到的。 它也不是
真正的 T. Street。 街道。

但它更像是一条柔软的 D. Street。 街道。 街道。

街道。 街道。 街道。 那是淘汰赛。

所以接下来的四个词，

他们都在同一个音调上，但肯定感觉压力更大，那就是“敲门”这个词。

那是淘汰赛。

她用音量来强调。

那

是敲门——敲门——那是敲门声。

那是淘汰赛。

那是淘汰赛。

所以当我和我的学生谈论英语口语时，我经常谈论音调的变化，

但这并不是唯一会带来压力感的事情，它也是长度，然后是音量。

所有这些话都流畅地连接在一起。 那是敲门声，那是敲门声

—— 字母 A 是这里的 schwa，嗯。 这是一个，这是一个，这是一个。 并将这些词联系在一起。

这是一个kn - 这是一个kno - 这是一个淘汰赛。

那是淘汰赛。

那是淘汰赛。

那是淘汰赛。

现在在这里，结尾的 K 声音，她确实将它释放到双元音中，

所以当一个停止辅音后跟一个元音或双元音时

，我们通常会释放它，将它连接到下一个单词：ckout– ckout– 昏死。

昏死。

昏死。 昏死。 昏死。

这个T怎么发音？

昏死。

昏死。

昏死。

这是一个停止T。

如果你觉得我根本没有听到它，

那是有道理的。 停止 T 是空气更突然停止但没有释放的时候。

所以它不同于drop T，在那个淘汰赛中，out，out，这个词停止得更突然。

如果它完全被丢弃，它可能听起来更像是“ow”，但它是：out，out。

那个突然停止是停止辅音。

在我们美国人的耳朵里，它听起来像一个 T，即使你正在等待听到 tt 的发布，

你可能根本听不到它，而且对你来说它可能感觉像是一个下降的 T。

但是试着把它想象成一个停止T。试着把那个突然的停止想象成一个声音本身。

昏死。

昏死。

昏死。

这个短语是什么意思？ 所以如果你要对某人开枪，你就会批评他们。

她是说，如果你在街上说，你在公共场合说，你当面说，

也许你当着那个人的脸说，那就是淘汰赛。 那是可以伤害某人的东西。

那是一种冲击力，感觉真实的东西。

但是你在推文中说，这是一个警察。

但随后她继续说：如果你在推文中说，也就是说，如果你在网上说，你不要当着别人的面说，

那是逃避。 出警是什么意思？ 逃避是当你不做

你应该做的事情时，因为它
更容易不去做。

是的，如果你真的想批评某人，

当面说出来是正确的做法。 让他们参与真正的对话。

在网上批评某人，这是当今文化中的一个大问题，在

网上很容易让人讨厌，而且人们经常这样做。

她说在网上表达对这样的人的批评是一种逃避。

但是你在推文中说，这是一个警察。

你可以在网上变得非常讨厌。 一个人要那么讨厌就更难了。

顺便说一句，我认识一位 youtuber，他获得了环游世界的资助，

并让人们亲自阅读他们在他的 youtube 频道上发表的令人讨厌的评论。

很少有人同意和他见面，他发现当他们真的和他见面时，

他们不想说他们写的东西。

这太刻薄了，太伤人了，他们都不好意思当着他的面说出来

，看着另一个人说出来。

所以我认为这是泰勒斯威夫特在这里谈论的一个有趣的启示。

在网上很容易讨厌。 但实际上，我们实际上并不想成为一般人那么讨厌的人。

那么让我们来谈谈她如何说下一行。

但是你在推文中说，这是一个警察。

但是你在推文中说，这是一个警察。

但是你在推文中说，这是一个警察。

首先，让我们谈谈压力。

但是你在推文中说，这是一个警察。

这些是压力最大的词。 一切都非常顺利地联系在一起。

让我们谈谈前两个词：但是你——这不是它们的发音方式。 他们不是：而是你。

但是你——但是你——但是你——

但是你——但是你——但是

你——我会用 B 和 schwa 写那个，然后她又把 T 和 Y 组合成一个 CH 音

，我们实际上会用这些符号编写一个 IP。

但是你——但是你——但是你——但是你——

这也是用英语口语说这两个词的常用方式。

但是你已经说过了。 但是

你–

但是你–但是你–但是你–但是你–但是你说–但是你说–但是你说–说–say的AY双元音链接真的很流畅 进入’it’的IH元音。

说吧——说吧——我发现有时我的学生不喜欢将元音或双元音连接在一起，

因为感觉太流畅、太草率了，在某些英语中肯定会发生这种情况，

但在口语中也会发生。 说吧。 说吧。

说吧——说吧——说吧——

我们不想在那里休息。

她确实在其中做了另一个停止T。 说吧。 说吧。 Say it in a–say it in

a– 单词 in 和 a 的 schwa, say it in a, in a, in a, 真的很流畅地连接在一起。

用 a 说——用 a 说——在推文中说——推特——

推特——

所以第一个 T 开始一个重读音节，它是一个真正的 T。

推特——推特——再一次，一个 stop T，tweet——不是twee——声音有点掉线的地方，那是Drop T，

但它是：tweet——突然停止，那是stop T，未发布的T。

在口语中很常见 也是。

在推文中说——在推文中说——在推文中说，这是一种逃避。

那是一种逃避。 那是– 那是–

再一次，字母 A 只是 schwa，它将这些词连接在一起，那是警察，那是警察。

就像在“shot”这个词中，这里的字母 O，它使 AH 与父亲元音中的一样。

不要试图使你的嘴唇变圆或使任何东西更闭合。

合作–警察

出局–警察出局– 这是一个警察出局。

那是一种逃避。

那是一种逃避。

“out”这个词是现在的双元音中的OW，我觉得她不太会做双元音。

哦，哦，这更像是警察啊，啊——它更像是第一个声音，所以我要把它放在括号里。

再一次，一个停止T。

没有释放，没有出来。

抓获。 抓获。 抓获。 我就像，嘿–

好的，这里有一个休息时间，所以在这条线上，我就像嘿。 嘿绝对是那里最重音的词，

向上向下，就像在口语中一样。

嘿。 我就像嘿。

而且我就像，嘿–

我就像，嘿–

我就像，嘿

– ‘and’这个词再次减少，听起来更像’in’这个词 说得很快，没有

重读，我就像–

再次，T 被丢弃

，位于两个辅音之间，这些词连接在一起，没有 T 音。

我就像——

我就像——

我就像——

我就像——

再一次，我真的没有听到 kk，K 释放的声音 . 再次，这是一个停止。

我就像 -

我就像 -

我就像“嘿，你还好吗？”

你还好吗？ 你还好吗？

第二个音节有很多重音，上下形状。

你还好吗？

你还好吗？

你还好吗？

如果我要问一个朋友他或她是否还好，我的建议会上升：你还好吗？

因为这是一个是/否的问题。 但在这里，她说的更像是一种声明。 音调下降。

你还好吗？

嘿，你还好吗？

基本上她的意思是，如果你需要上网并拖钓他人，并且非常讨厌，那么

也许你做得不好。

你还好吗？

你还好吗？

你还好吗？

你还好吗？

现在我们都知道，音乐行业非常严格地监管在这样的视频中在线使用其内容。

当然，这个视频是出于教育目的，但音乐行业会这样看吗？

他们会在意吗？ 我不知道。

这就是为什么我要在这里停下来。

我们还没有完成整首歌，但是这个视频可能会被删除，我不想看到这种情况发生。

所以这是一种测试。 让我们看看，这个视频能在音乐界生存下来吗？

如果是这样，我绝对会制作一个后续视频，我会在其中完成这首歌的其余部分。

因此，如果您想以这种方式学习，请在下面的评论中告诉我，也许您会购买一首泰勒歌曲

，请在评论中告诉我。 也许这将有助于防止该视频被删除。

如果您希望看到我以这种方式分析的另一首歌曲，请在下面的评论中告诉我。

如果有人已经发布了您喜欢的歌曲，那么就像该评论一样。

这将帮助我找到最受欢迎的请求。

下一个您要观看的精彩

视频将是我的暑期电影学英语系列视频。

类似的，我们也做这个语音分析来研究语音在美式英语中是如何使用的。

伙计们，我喜欢教你们英语。

就是这样，非常感谢您使用 Rachel 的英语。