Today you're transforming your spoken English
by setting the scene for the movie
Mission Impossible Fallout with me.
We can't get enough of Tom Cruise, can we?
He was in our first video in the series
Top Gun: Maverick as well.
When you study the scene,
the way we're going to in this video,
you'll be able to understand American movies and TV
effortlessly without subtitles.
The best part is,
not only do you get to learn and study with the video,
you get to train with the training section in this video,
so you can start to make all of these reductions
and so on a habit.
And where did Sloane get this information?
We're going to be doing this all summer,
June 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 speak and understand English.
And as always, if you like this video
or you learn something,
please like and subscribe with notifications.
(whistling)
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 and 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.
And where did Sloane get this information?
She didn't say.
She did however, grant me the opportunity to bring you in
on the condition that I terminate this mission
and hand over Solomon Lane personally.
Sir you can't do that.
Hunt.
No I know lane, and he has no intention of going back.
That's why we're taking him back.
Which means that's exactly what he wants us to do.
And now the analysis.
And where did Sloane get this information?
And where, we have a little stress there
on our question word.
And where did Sloane get this information?
I would say these two words have more of a scoop up
because the intonation is going up.
And where did Sloane get this information?
And where did Sloane get this information?
And where did Sloane get this information?
This is not a yes, no question.
And yes, no questions tend to go up in pitch.
And other questions tend to go down.
But in this particular case,
And where did Sloane get this information?
He's making it go up.
And where did Sloane get this information?
And where did Sloane get this information?
And where did this Sloane get this information?
What about the word and?
Does he say and?
And where--
And where-
Definitely no D.
The word sounds kind of like 'in' doesn't it?
and where, and where, and where
and where did Sloane get this?
And where--
And where did you get this information?
Get this, a stop T here it's not released.
That would be get this, gets this,
but it's get this, get this, get this, get
stopping the air in my throat,
my tongue is actually in position for the th,
get this and then when I'm ready to release
my tongue is already there.
Get this--
And everything is very smooth isn't it?
And where did Sloane get this information?
And where did Sloane get this information?
And where did Sloan get this information?
And where did Sloane get this information?
No skips in pitch, all smooth.
In-for-may-tion,
four syllable word with third syllable stress.
T-I-O-N ending here, is
S-H schwa and Shin Shin.
And where did Sloane get this information?
This infer ending S links right into the I.
So it's almost as if this word is
'sinformation', 'sinformation'.
That's what linking does 'sinformation'?
Sinformation?--
Sloane and be careful there,
that's O diphthong as in no followed by N.
O O, make sure you do round your lips a little bit for that. Oww.
If you don't make that rounding motion,
it probably won't sound right, Sloane.
And then the tongue lifts for the N.
But before that we really want the O diphthong
to not have any nasal quality.
'Sloa' O.
We don't want that. The N comes separately.
The nasal consonant is totally separate from the diphthong.
'Sloa', 'Sloa'.
It's just like this word, slow.
And then you say an N.
Slow, Slow, Sloane, Sloane.
Sloane--
Get this information?
She didn't say.
She didn't, didn't,
she didn't say.
Most of our stress on the word say,
his pitch is a little bit high here,
she didn't say, she didn't say.
They're in a tunnel,
he's trying to be very clearly understood.
She didn't say.
She didn't say.
She didn't say.
She didn't say.
It's a little bit higher than conversational pitch,
I would say, in conversation,
it would probably be more like, "She didn't say,
"she didn't say,"
but instead it's, "She didn't say."
She didn't say--
What's happening with our N apostrophe T contraction here?
She didn't say,--
She didn't say, she didn't say,
I'm hearing very quick D, I'm definitely hearing the N.
I think the T is dropped.
I'm hearing the N going right into the S.
She didn't say, 'didn s',
'didn s', 'didn say',
no feeling of a stop there.
She didn't say.
She didn't say.
Now the whole time we're hearing this phrase,
we're seeing this guy.
He looks pretty guilty.
I think it might have been him.
She didn't say, she did, however--
She did, she did, she did however,
a little break before the word however,
and after the word however,
just separating it a little bit
from the rest of the sentence
making it its own little thought group.
She did, she did, she did, she did.
She did, --
Did more stress there,
the D is not released that would be did, did. D,d,d.
She did, she did.
Tongue goes into position for the D,
the vocal cords vibrate, but it's not released.
She did, She did, She did, however,
She did however,
she did however,
she did however--
However,
how-ever middle syllable stress there,
however,
However, --
grant me the opportunity
to bring you in on the condition
that I terminate this mission.
Then we have a pretty long thought group,
Grant me the opportunity to bring you in on the condition
that I terminate this mission.
Grant me the opportunity to bring you in on the condition
that I terminate this mission.
Grant me the opportunity to bring you in on the condition
that I terminate this mission.
Let's just look at the first part of this thought group.
Grant me the opportunity,
Grant me the opportunity.
So he stresses me quite a bit.
Grant me,
Grant me, now here NT ending it was dropped earlier,
but here I'm hearing it as a stop.
Grant me, Grant, Grant, Grant me.
Grant me,--
Without a stop, it would sound like this,
"Gran me, Gran me."
I definitely don't hear that.
I definitely hear a little stop a little lift
to my ears that makes a T sound.
Native speakers here these little stops as
T's or P's or K's depending on the word.
Grant me, Grant me, grant me the opportunity.
Grant me the opportunity.
Grant me the opportunity.
Grant me the opportunity.
Me with the E vowel and then the word V with the E vowel.
Now the word 'The' can either be the with E
or it can be the with the schwa.
The rule is when the next word begins
with a vowel or diphthong,
this pronunciation is E.
However, I've noticed Americans don't
actually follow that rule all that much,
though he is here.
The opportunity.
Opportu--
Grant me the opportunity.
Grant me the opportunity.
Grant me the opportunity.
Stress on the third syllable of this five syllable word,
opportunity, opportunity.
As you practice that word, practice it right now, and
really feel that middle syllable stress.
Tadadadada, like the whole word goes up to that
and then comes away from that.
Opportunity, opportunity.
Opportunity,
If you make that your focus doesn't let you
simplify the rest of the word.
Maybe you also notice the T pronunciations,
we have a true T here starting the stressed syllable.
Opportunity,
then we have a Flap T,
because it's not starting a stress syllable
and it comes between two vowel or diphthong sounds.
Opportunity, opportunity.
Opportunity--
to bring you in.
Opportunity to bring you in,
Uhuh. bring you in.
You and to unstressed, bring and in stressed
with that shape Ah.
Now how is the word to pronounced?
Lets listen to opportunity to bring.
Opportunity to bring,
opportunity to bring.
Opportunity to,
opportunity to.
It's a flap isn't it?
It's a flap in the schwa.
It's not to it's a 'da' 'da' 'da'.
Opportunity 'da'.
Try that word just linking on to the word before.
Opportunity 'da', opportunity 'da'.
Opportunity to,
Opportunity to bring you in.
The opportunity to bring you in,
the opportunity to bring you in,
Opportunity to bring you in on the condition--
Bring you in on the condition--
Our next stress syllable is 'di' condition.
T-I-O-N here, SH scwha N.
Condition, our stressed syllable has the I vowel,
and I wanna point out C-O-N, that's 'Kan'.
That first syllable has the schwa, and so we
don't need to feel like there's any vowel in it,
'cause the end absorbs the schwa.
So it's just 'kan' 'kan' condition, condition.
Condition,
Bring you in on the condition.
Now I wanna talk a little bit about linking.
We have that JU diphthong,
and then we have the I as in sit vowel in in.
Now when we have a word that ends in this sound,
and the next word begins with a vowel or diphthong,
it can sound like we connect them
with the glide consonant W.
So I'm gonna cut it here,
with just the very end of this word linking into the word in
in on the condition and listen to how it sounds like.
It's 'win', 'win' on the condition
because of the linking, 'win' on the condition.
'Win' on the condition, '
'win' on the condition.
Do you hear that?
I love that about linking.
So smooth one sound right into the next.
No true definition often between words.
Bring you in on the condition.
That's when stress becomes so important.
When we have the stress that gives us our anchor
rather than all These words separations.
Bring you in on the condition.
Bring you in on the condition,
bring you in on the condition,
bring you in on the condition that I terminate this mission.
That I terminate, that I 'ter' stressed syllable there,
that I terminate this mission.
That I terminate this mission,
that I terminate this mission,
that I terminate this mission.
Pitch goes up, because he is not done
he's going to put a break here,
but his pitch going up shows
that he's going to continue his thought,
and because of that, the stressed syllable of 'mi',
rather than being up down is more like a down up mission.
Mission,
That and I unstressed, they link together with a Flap T,
that I, that I, that I.
That I,
terminate this mission.
That I terminate, this is a true T,
because just like in opportunity,
it's a T starting a stressed syllable.
'Tunity,' terminate, terminate this.
Stop T at the end of terminate,
because the next word begins with a consonant.
Terminate this mission.
Terminate this mission,
terminate this mission.
Mission, mission.
Here the double S I-O-N,
is the SH sound schwa N.
Mission, Shin, Shin.
Mission,
And hand over Solomon Lane personally.
Our stress here in,
hand over Solomon Lane personally.
And hand over Solomon Lane personally.
And hand over Solomon Lane personally.
And hand over Solomon Lane personally.
Hand Sol and Lane, per are our most stressed syllables there.
The word and not fully pronounced.
How does he pronounce it?
Does it sound like in?
In hand,
Yeah, pretty much does doesn't it?
So it's not and but it's an 'in'.
Unstressed, said very quickly,
I would write that with a schwa n,
but I know it helps people to think of it
as being the word in said very fast. In,in,in,in. In hand over.
The D here, very light.
In hand over, hand over, links into the next word,
which begins with the O diphthong.
In hand over Solomon.
So we have three O's here,
but they have different pronunciations.
The first one is the ah as in father 'sahla',
then we have a schwa 'sahlamn'.
Then we have a schwa again,
but when the schwa is followed by n,
we don't really hear it, mn, mn, mn.
It's right from m into n min, min, min, min,
Solomon, Solomon.
Solomon,
Solomon Lane.
Solomon Lane,
personally.
Personally, now the vowel in that stress syllable
is the 'er' vowel,
which is like the r acting like a vowel per.
So don't try to make a vowel between p and r.
Puh, er, per per.
Just give that r the shape and length of the vowel
per, personally, person.
Here we have another schwa N, so it's not person, person,
It's Person, person, personally.
Personally.
Sir you can't do that.
Okay, now his next sentence is all sort of low in energy
a little bit quieter.
Sir you can't do that.
Sir you, sir you,
not much jaw drop there it's not sir it's Sir Sir quiet,
mysterious, intense.
Sir You can't do that.
Sir you can't do that,
sir you can't do that.
You, I don't hear that as you I hear that is ya.
Surya, Surya, do you hear that reduction?
Sir you--
can't do that.
Sir you can't do that.
I'm hearing this as a stop t certainly not released.
Can't do, but can't do, can't do, can't do that.
And then I do hear him actually releasing that t.
So he doesn't make it a stop, he releases it.
Do that, that, that.
Do that.
Hunt.
Hunt, hunt. Hunt.
Up down fully releases that clear true T.
Hunt, hunt.
Hunt,
No I know Lane.
He puts a pause after Lane breaking it up into
its own thought group over here.
What is the stress of these four words?
Let's listen to the melody.
No I know Lane,
Tadatada.
No I know Lane.
No, I know Lane.
No has stress.
(laughs) The other word no has stress
these two words sound the same don't they?
N consonant O diphthong,
even though they're two different words
and they're spelled differently,
they are homophones they sound the same.
No, no, I know.
No I know,
The I diphthong just links really smoothly into here.
No I.
When we link the O diphthong into a word that begins
with a vowel or diphthong it can feel like
you're going through a W Why?
Why? Instead of I.
No why, No, no, I know Lane.
No I know lane,
Actually, he makes a little tiny bit of a lift here.
No, I know Lane, no, I know Lane, no, I know Lane.
But you can definitely
I think it's close enough
it's linked enough that you can think of this W to help you
smooth that transition.
We don't want no I, no I, no I,
we don't want that kind of lift.
No I, no I, no I.
No I,
know Lane
and he has no intention of going back.
And he has no intention
and he has no intention of going back.
No and 'ten' have our most stress there.
And he has no intention of going back
and he has no intention of going back
and he has no intention of going back.
What about our first three words here, and, he, has.
How are those pronounced?
And he has,
All three of these words reduced,
and becomes an an,
he becomes 'i',
as becomes is, is,
in he has, in he has, in he has, in he has, in he has.
And he has,
You should be able to say that without
moving your lips or your jaw at all
your mouth should feel totally relaxed,
and he has, and he has, and he has, and he has.
It's flatter, doesn't have the energy that no or 'ten'.
And he has no, and he has no.
It's all really low and flat building up to and he has no,
that stressed syllable with the up-down shape.
And he has no, and he has no intention.
And he has no intention,
and he has no intention.
The T-I-O-N ending here
if you look it up in the dictionary,
it will say 'sh' schwa n Shin Shin.
But actually when the SH sound comes right after an N,
we put a T in it and so then instead of SH it becomes CH.
'chun', 'chun', 'chun',
intention, intention. chchch.
So ch instead of sh because of that n before.
Intention, intention.
The T in ten is a true t
because it starts a stress syllable intention.
Intention,
of going back.
No intention of going,
of going back,
a little bit of an up down shape on those two syllables,
go and back.
The word of reduces of, of, of, of going, of going back.
Of going back,
When you hear just of going back,
it's really crazy how fast
and almost not there that word of is.
We reduce it, we make it so short
to give the good contrast between
unstressed and stressed syllables.
Of going back,
Of, of, of, of, of, of going back,
of going back.
It's crazy how different that is than going and back.
It's not of of going back,
It's 'ev' 'ev' 'ev' going back.
'ev' going back.
When we reduce things like that,
I think it helps us to connect things more.
Of going back, of going back.
Of going back,
And he does release the K sound.
That's another stop consonant.
And sometimes we don't release it
at the end of a thought group.
But he does here.
Of going back.
Of going back,
That's why we're taking him back.
That's why we're, he's speaking with authority here
with more volume.
That's why we're taking him back.
That has a little bit of up down shape,
but then I don't really hear the K sound at the end,
taking him back.
That's why we're taking him back.
That's why we're taking him.
That's why we're taking him back.
That's why we're taking, true T there in taking,
because it begins a stressed syllable.
That's why we're taking him.
The word him unstressed,
he could have dropped the H that is a common reduction,
but I do still hear a light H,
even though the word is unstressed.
That's why we're taking him.
That's why we're taking him.
That's why we're taking him.
You know what, I'm even going to give some stress
to that's and why,
that's why, Oh, sorry.
That's an we're, that's why we're take,
that's why we're taking him back.
By doing a little bit more of the length
and a little bit more of up down shape on every word there,
It really brings stress and authority to what he's saying.
That's why we're taking him back.
That's why we're taking him back.
That's why we're taking him back.
That's why we're taking him back.
Which means that's exactly what he wants us to do.
Okay, now Tom Cruise's character,
really does the same thing.
He stresses more words than normally
he puts in more gaps, breaks it into more thought groups,
so that he can stress the importance of what he's saying.
Which means that's exactly what he wants us to do.
Which means that's exactly what he wants us to do.
Which means that's exactly what he wants us to do.
Which means, which means both of those have shape
of stress.
Which means and then he puts a little
thought group in here breaking it up, which means.
It's not, which means, which, which, which, which means.
Where which would be unstressed, but it's which means.
Which means.
Which means,
which means that's exactly what he wants us to do.
That's exactly, and a little feeling of a stop
of a break here, breaking up the thought group.
That's exactly,
and the stressed syllable here of exactly
has a scoop up rather than up down,
because his pitch is going up.
That's exactly.
That's exactly,
Let's talk about the word 'exactly'.
We have an unstressed syllable.
IH as in SIT, G,
then stressed syllable starts with z.
So g and z are the two sounds that we get
out of the letter X.
It's interesting,
the letter X makes two sounds
and there's even considered a syllable break between them.
'Ig', 'Ig', 'Ig', exactly.
So then we have the AA as in BAT vowel, k, t,
and then an unstressed syllable 'Ly' exact,
Exactly.
Now, if we didn't have the Ly ending,
and I was just gonna say the word exact,
I would definitely 'kt', 'kt', make both of those sounds.
But when The T comes between two consonants like this,
it's very common to drop it,
and that's what he does.
'Exac' 'ly'.
So no T sound at all.
Exactly, exactly, Let's listen to him do it.
Exactly,
Exactly, no T.
Exactly.
Exactly,
what he wants us to do.
What he wants,
what he wants.
We have a stop t.
What he, because the next word begins with a consonant,
he didn't drop it.
What he wants.
What he wants,
us to do.
Wants us to do,
wants
us to do.
A lot of stressed words here.
The word 'to' not stressed, does have a true T though,
True T and schwa, us to do.
So, if the sound before the letter T and the word to
is unvoiced like here,
S is an unvoiced sound S,
then the T will probably be a true T.
Us to do,
wants us to do.
Wants us to do,
So even in a phrase here where the character
is stressing every word putting in more brakes
to bring extra stress, even in that case,
probably not going to fully pronounce 'to'.
It's just such a common comfortable
reduction in American English.
It would sound a little strange, "Wants us to do."
It would just be a whole nother level of emphasis.
Wants us to do, still with the to reduction.
Wants us to do,
Okay let's listen to this whole conversation
one more time.
And where did Sloane get this information?
She didn't say.
She did, however, grant me the opportunity to bring you in
on the condition that I terminate this mission,
and hand over Solomon Lane Personally.
Sir you can't do that.
Hunt.
No, I know Lane, and he has no intention of going back.
That's why we're taking him back.
Which means that's exactly what he wants us to do.
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 habits.
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 this 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 from 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，你正在改变 你的英语口语
，
和我一起为电影 Mission Impossible Fallout 设置场景。
我们无法得到足够的汤姆克鲁斯，不是吗？
他也出现在我们的 Top Gun: Maverick 系列的第一个视频
中。
当你研究这个场景时
，我们将在这个视频中采用这种方式，
你将能够毫不费力地理解 美国电影和电视，
而无需字幕。
最好的部分是，
您不仅可以 通过视频学习和学习，
还可以通过 此视频中的培训部分进行培训，
因此您可以开始养成 所有这些减少
等习惯。
斯隆是 从哪里得到这些信息的？
我们整个夏天都会这样做，从
六月到八月。
每个星期二和我在一起。
它们都是很棒的场景
，有很多东西要学
，可以改变你 说和理解英语的方式。
和往常一样，如果你喜欢这个视频
或者你学到了一些东西，
请喜欢并 订阅通知。
（吹口哨）
你先看剪辑，
然后我们一起做一个完整的
发音分析。 在观看英语电影和电视时，
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 刚刚学到的
东西拿来练习重复，
做一个减少，拍打t，
就像你在分析中学到的一样。
好了，现场来了。
斯隆是 从哪里得到这些信息的？
她没有说。
然而，她确实给了我 机会带你进来
，条件是我 终止这次任务
并亲自交出所罗门巷。
先生，你不能这样做。
打猎。
不，我知道莱恩，他也 无意回去。
这就是我们要带他回去的原因。
这意味着这 正是他希望我们做的。
现在分析。
斯隆是 从哪里得到这些信息的？
在哪里，
我们对问题词有一点压力。
斯隆是从哪里得到这些信息的？
我想说这两个词 有更多的独家新闻，
因为语调在上升。
斯隆是 从哪里得到这些信息的？
斯隆是从哪里得到这些信息的？
斯隆是从哪里得到这些信息的？
这不是一个是，不是的问题。
是的，没有问题 往往会上升。
其他问题往往会下降。
但在这种特殊情况
下，斯隆是从哪里得到这些信息的？
他正在让它上升。
斯隆是 从哪里得到这些信息的？
斯隆是从哪里得到这些信息的？
这个斯隆是 从哪里得到这些信息的？
和这个词怎么样？
他说和？
在哪里——在哪里——
绝对没有 D。
这个词听起来有点像“在”，不是吗？
斯隆在哪里、在哪里、在哪里
、从哪里得到这个的？
在哪里——你从哪里得到这些信息的？
得到这个，停止T 在这里它没有被释放。
那会得到这个，得到这个，
但它得到这个，得到这个，得到这个，
停止我喉咙里的空气，
我的舌头实际上
已经准备好了，得到这个，然后当我准备好释放
我的 舌头已经在那里了。
得到这个 -
一切都非常顺利，不是吗？
斯隆是从哪里得到这些信息的？
斯隆是 从哪里得到这些信息的？
斯隆是从哪里得到这些信息的？
斯隆是从哪里得到这些信息的？
音调没有跳跃，一切顺利。
In-for-may-tion，
三音节重音的四音节词。
T-I-O-N 到此结束，是
S-H schwa 和 Shin Shin。
斯隆是从哪里得到这些信息的？
这个推断结尾的 S 直接 链接到 I。
所以它几乎就好像这个词是
“信息”、“信息”。
这就是'信息'的链接？
Sinformation？--
Sloane 并且小心，
那是 O diphthong，因为在 no 后面跟着 N.
O O，确保 你的嘴唇稍微圆润一点。 哇哦。
如果你不做那个圆角的动作，
那听起来可能不对，斯隆。
然后舌头抬起来表示 N。
但在此之前，我们真的 希望 O 双
元音没有任何鼻音。
'Sloa' O.
我们不想这样。 N 单独出现。
鼻辅音 与双元音完全分开。
'斯洛亚'，'斯洛亚'。
就像这个词，慢。
然后你说一个N。
慢，慢，斯隆，斯隆。
斯隆——
得到这个信息？
她没有说。
她没有，没有，
她没有说。
我们大部分强调这个词，
他的音调在这里有点高，
她没说，她没说。
他们在一个隧道里，
他正试图被非常清楚地理解。
她没有说。
她没有说。
她没有说。
她没有说。
它 比对话音高一点点，
我想说，在对话中，
它可能 更像是，“她没有说，
”她没有说，“
而是“她没有说”。
她没有说——
我们 这里的 N 撇号 T 收缩发生了什么？
她没有说——
她没有说，她没有说，
我听到很快 D， 我肯定听到了 N.
我认为T被丢弃了。
我听到N直接进入S。
她没有说，“没有”，
“没有”，“没有说”，
没有停在那里的感觉。
她没说。
她没说。
现在 我们一直听到这句话，
我们看到了这个人。
他看起来很内疚。
我想可能是他。
她没有说，她 确实，
然而—— 她做到了，她做到了，然而，她做到了，
在单词然而之前和单词之后有一点中断
，
只是将它
与句子的其余部分分开一点，
使其成为自己的小思想组。
她 做到了，她做到了，她做到了，她做到了。
她做到了，——
那里压力更大
，D没有释放 那会做的，做的。 D，d，d。
她做到了，她做到了。
舌头进入 D 的位置
，声带振动， 但没有释放。
她做到了，她做到了，她做到了，然而，她做到了，她做到了，然而，
她做到了—— 然而，
无论如何，
那里的
中间音节重音，
然而，——
让我有
机会带你进入 条件
是我终止这个任务。
然后我们有一个相当 长的思想小组，
给我机会 把你带进来，条件
是我终止这个任务。
给我机会 把你带进来，条件
是我终止这次任务。
给我机会 把你带进来，条件
是我终止这次任务。
让我们看一下 这个思想组的第一部分。
给我机会，
给我机会。
所以他给我压力很大。
授予我，
授予我，现在在这里 NT 结尾它早先被删除了，
但在这里我听到它作为一个停止。
授予我，授予，授予，授予我。
授予我，-
没有停止， 听起来像这样，
“Gran me, Gran me.”
我绝对听不到。
我确实听到了 一点点停
在我耳朵上的声音，它发出了 T 音。
这里的母语人士将这些小停顿作为
T 或 P 或 K 取决于单词。
给我，给我， 给我机会。
给我机会。
给我机会。
给我机会。
Me 带有 E 元音，然后 是单词 V 带有 E 元音。
现在“The”这个词 可以是 E
或 schwa 的 the。
规则是当下一个单词
以元音或双元音开头时，
这个发音是 E。
然而，我注意到美国人实际上并没有那么
严格地遵循这条规则，
尽管他在这里。
机会。
机会——
给我机会。
给我机会。
给我机会。
重读 这五个音节单词的第三个音节，
机会，机会。
当你练习那个词时， 现在就练习它，并
真正感受到中间音节的重音。
Tadadadada，就像 整个词上升到那个
，然后离开那个。
机会，机会。
机会，
如果你做到了，你的 注意力不会让你
简化这个词的其余部分。
也许你也注意到 了 T 的发音，
我们这里有一个真正的 T 开头 的重读音节。
机会，
然后我们有一个 Flap T，
因为它不是 重音音节的开头
，它位于两个 元音或双元音之间。
机会，机会。
机会——带你进来。
机会带你进来，
嗯。 带你进来。
你和不重音，
带着那个形状啊。
现在这个词怎么发音？
让我们听听带来的机会。
机会带来，
机会带来。
机会，
机会。
不是翻盖吗？
这是schwa中的一个襟翼。
这不是'da''da''da'。
机会'da'。
试试这个词只是 链接到之前的词。
机会'da'，机会'da'。
Opportunity to,
Opportunity
to bring you in. 机会带入
，机会带入，
机会带入 条件——
带你进入条件——
我们的下一个重读音节 是“di”条件 .
这里的 T-I-O-N，SH scwha N.
条件，我们的重读 音节有 I 元音
，我想指出 C-O-N，那是 'Kan'。
第一个音节 有 schwa，所以我们
不需要感觉 里面有任何元音
，因为结尾吸收了 schwa。
所以它只是'kan''kan' 条件，条件。
条件，
带你进入条件。
现在我想 谈谈链接。
我们有那个 JU 双元音，
然后我们有 I as in sat 元音 in。
现在，当我们有一个 以这个声音结尾的单词，
而下一个单词 以元音或双元音开头时，
听起来就像我们将它们
与 滑音辅音 W。
所以我要在这里剪掉它
，只将这个 词的最后连接到条件中的词
in 并 听听它的声音。 由于链接，
它是'win'，条件
上的'win'，条件上的'win'。
“赢”是条件，
“赢”是条件。
你听到了吗？
我喜欢链接。
因此，将一个声音平滑到下一个声音。
词之间往往没有真正的定义。
带你进入条件。
这时候压力就变得如此重要了。
当我们有压力 ，给我们我们的锚，
而不是所有这些词分离。
带你进入条件。
带你进来，
带你进来，带你进来，条件
是我终止这个任务。
我终止，我 在那里'ter'重读音节
，我终止这个任务。
我终止这个使命
，我终止这个使命
，我终止这个使命。
音高上升，因为他还没有完成，所以
他要在这里休息一下，
但是他的音高上升
表明他将继续他的想法
，因此， 重读音节“mi”，
而不是 up down 是 更像是一个向下的任务。
Mission,
That 和 I unstressed, 他们 用一个 Flap T 连接在一起，
那个 I, that I, that I.
That I,
终止这个任务。
I 终止，这是一个真正的 T，
因为就像在机会中一样，
它是一个 T 开始一个重读音节。
'Tunity'，终止，终止这个。
在终止结尾处停止 T，
因为下一个单词 以辅音开头。
终止此任务。
终止这个任务，
终止这个任务。
使命，使命。
这里的双 S I-O-N，
是 SH 音 schwa N.
Mission, Shin, Shin。
任务，
并亲自交出所罗门巷。
我们这里的压力，
亲自交出所罗门巷。
并亲自交出所罗门巷。
并亲自交出所罗门巷。
并亲自交出所罗门巷。
Hand Sol 和 Lane, per 是我们 最重读的音节。
这个词并没有完全发音。
他怎么发音？
听起来像吗？
在手，
是的，几乎没有，不是吗？
所以它不是，但它是一个'in'。
不重音，说得很快，
我会用 schwa n 来写，
但我知道它有助于人们把它想象
成 说得很快。 在，在，在，在。 到手了。
这里的D，很轻。
在 hand over，hand over， 链接到下一个单词，
它以 O 双元音开头。
交给所罗门。
所以我们这里有三个O，
但它们有不同的发音。
第一个 是父亲'sahla'中的ah，
然后我们有一个schwa'sahlamn'。
然后我们又有一个 schwa，
但是当 schwa 后面跟着 n 时，
我们并没有真正听到它，mn, mn, mn。
就是从 m 到 n min, min, min, min,
Solomon, Solomon。
所罗门，
所罗门巷。
所罗门巷，
个人。
就个人而言，现在 那个重读音节
中的元音是 'er' 元音
，就像 r 像元音 per 一样。
所以不要试图 在 p 和 r 之间发元音。
噗，呃，每个。
只需将每个人的元音的形状和长度赋予那个 r
。
这里我们有另一个 schwa N， 所以它不是人，人，
而是人，人，个人。
亲自。
先生，你不能这样做。
好吧，现在他的下 一句话有点低能量，
有点安静。
先生，你不能这样做。
先生，您，先生，您
的下巴没有掉下来，这 不是先生，而是先生，先生，安静，
神秘，紧张。
先生，你不能那样做。
先生，您不能那样做，
先生，您不能那样做。
你，我没有 听到你的声音，我听到的是你。
Surya，Surya，你听到那个减少了吗？
先生，
你不能那样做。
先生，你不能这样做。
我听说这是一个 肯定不会被释放的停止。
做不到，做不到 ，做不到，做不到。
然后我确实听到他 实际上释放了那个t。
所以他 没有停下来，他释放了它。
做那个，那个，那个。
去做。
打猎。
狩猎，狩猎。 打猎。
向上向下完全释放清晰的真实T。
狩猎，狩猎。
亨特，
不，我认识莱恩。
在 莱恩在这里将其分解为
自己的思想组后，他停顿了一下。
这四个字的重音是什么？
让我们听听旋律。
不，我知道 Lane，
Tadatada。
不，我知道莱恩。
不，我知道莱恩。
没有压力。
（笑）另一个词 no 有重音，
这两个词听起来一样不是吗？
N 辅音 O 双元音，
尽管它们是两个不同的词
，拼写不同，
但它们是同音词，它们听起来是一样的。
不，不，我知道。
不，我知道
，我的双元音 真的很顺利地链接到这里。
不 I.
当我们将 O 双元音连接 到
以元音或双元音开头的单词时，会感觉
你正在经历 W 为什么？
为什么？ 而不是我。
不，为什么，不，不，我知道莱恩。
不，我知道莱恩，
实际上，他在这里做了一 点点提升。
不，我知道莱恩，不，我 知道莱恩，不，我知道莱恩。
但是你绝对可以，
我认为它足够接近，
它的联系足够紧密，你 可以想到这个 W 来帮助你
顺利过渡。
我们不想要没有我，没有我，没有我，
我们不想要那种电梯。
不，不，不，不，我。
不，我
知道莱恩
，他无意回去。
而且他没有打算，也没有回头的打算。
不，“十”是我们最大的压力。
而且他没有回头的
打算，也没有回头
的打算，也没有回头的打算。
我们在这里的前三个词怎么样 ，而且，他，有。
那些是怎么发音的？
他有，
所有这三个词都减少了
，变成了一个，
他变成了“我”，
就像变成了一样，是，
在他有，在他有，在他 有，在他有，在他有。
他有，
你应该可以说，
你的嘴唇或下巴完全不动，
你的嘴应该感到完全放松
，他有，他有 ，他有，他有。
它更平坦， 没有“没有”或“十”的能量。
他没有，他没有。
这一切都是非常低平的， 而他没有，
那个 带有上下形状的重读音节。
他没有，他也没有意图。
而且他没有意图
，他也没有意图。
T-I-O-N 在这里结尾，
如果你查字典，
它会说 'sh' schwa n Shin Shin。
但实际上，当 SH 音紧跟在 N 之后时，
我们会在其中添加一个 T，因此它 不是 SH，而是变为 CH。
‘春’，‘春’，‘春’，
意，意。 chchch。
所以 ch 而不是 sh 因为之前的 n 。
意图，意图。
十中的 T 是真正的 t，
因为它开始了一个 重读音节意图。
打算，回去。
没有去的意思
，回去的意思，
在这两个音节上有点上下的形状，
go and back。
减少的，的， 的，去的，回去的词。
回去，
当你听到回去的时候，
真是太疯狂了，速度有多快
，几乎没有那个词。
我们减少它，我们把它做得很短
，以便在
非重读音节和重读音节之间形成良好的对比。
回去的,
的, 的, 的, 的, 的, 回去的
, 回去的。
这 与往返有多么不同，这太疯狂了。
这不是回去，
而是'ev' 'ev' 'ev' 回去。
'ev' 回去了。
当我们减少这样的事情时，
我认为这有助于我们 更多地联系事物。
回去，回去。
回去的时候
，他确实释放了K音。
那是另一个停止辅音。
有时我们不会
在思想组结束时发布它。
但他在这里。
回去的。
回去，
这就是我们带他回去的原因。
这就是为什么我们，他 在这里
以更大的音量说话。
这就是我们要带他回去的原因。
那有一点上下的形状，
但最后我并没有真正 听到K的声音，
把他带回来了。
这就是我们要带他回去的原因。
这就是我们要带走他的原因。
这就是我们要带他回去的原因。
这就是为什么我们要取， 真正的 T 在那里取，
因为它开始一个重读音节。
这就是我们要带走他的原因。
他没有重读这个词，
他可以去掉H ，这是一个常见的减少，
但我仍然听到一个轻的H，
即使这个词没有重读。
这就是我们要带走他的原因。
这就是我们要带走他的原因。
这就是我们要带走他的原因。
你知道吗，我 什至会
强调这就是为什么，
这就是为什么，哦，对不起。
这就是我们，
这就是我们要带走他的原因，这就是我们要带他回去的原因。
通过在每个单词上
增加一点长度和向上 向下的形状，
这确实给他所说的带来了压力和 权威。
这就是我们要带他回去的原因。
这就是我们要带他回去的原因。
这就是我们要带他回去的原因。
这就是我们要带他回去的原因。
这意味着这 正是他希望我们做的。
好吧，现在汤姆克鲁斯的角色，
真的做了同样的事情。
他比平时强调更多的词，
他会放置更多的空隙，将 其分成更多的思想组，
这样他就可以强调 他所说的话的重要性。
这意味着这 正是他希望我们做的。
这意味着这 正是他希望我们做的。
这意味着这 正是他希望我们做的。
这意味着，这意味着 这两个都有
压力的形状。
这意味着然后他在这里放了一个小
思想小组来 分解它，这意味着。
不是，这意味着，哪个， 哪个，哪个，这意味着。
哪里哪一个不会被强调， 但它是哪一个意思。
意思是。
这意味着，
这 正是他希望我们做的事情。
正是这样，还有 一点
在这里休息的感觉， 打破了思想群体。
就是这样
，这里的重读音节正好
有一个向上而不是向上向下，
因为他的音高在上升。
正是这样。
就是这样，
让我们谈谈“确切”这个词。
我们有一个非重读音节。
IH 与 SIT 中的 G 一样，
然后重读音节以 z 开头。
所以 g 和 z 是我们
从字母 X 中得到的两个声音。
有趣的是
，字母 X 发出两个声音
，甚至 它们之间有一个音节中断。
'Ig'，'Ig'，'Ig'，确切地说。
那么我们就有了 BAT 元音中的 AA，k，t，
然后是一个非 重读音节“Ly”，
Exactly。
现在，如果我们没有 Ly 结尾，
而我只想说精确这个词，
我肯定会发出“kt”、“kt” 这两个声音。
但是当 T 像这样出现在两个辅音之间时
，通常会放弃它
，这就是他所做的。
'精确''ly'。
所以根本没有T音。
没错，没错，让我们 听他做。
完全正确，
完全正确，没有 T。
完全正确。
没错，
就是他想让我们做什么。
他想要什么，
他想要什么。
我们有一个停止t。
什么他，因为下一个 词以辅音开头，
他没有放弃它。
他想要什么。
他要什么，
我们就做什么。
要我们做，
要
我们做。
这里有很多重音词。
'to'这个词没有强调， 确实有一个真正的T，但
真正的T和schwa，我们要做。
所以，如果 字母 T 和 to 之前的
音像这里一样是清音，
S 是清音 S，
那么 T 很可能是真正的
T。Us to do,
want us to do。
希望我们这样做，
所以即使在 这里的一个短语中，
角色强调每个单词都会 加大刹车
以带来额外的压力，即使在这种情况下，也
可能不会完全发音“to”。
这只是美式英语的一种常见的舒适
减少。
听起来 有点奇怪，“要我们做。”
这将是 另一个层次的重点。
要我们做的，还是 用要还原的。
想让我们做，
好的，让我们再听一遍 整个
对话。
斯隆是 从哪里得到这些信息的？
她没有说。
然而，她确实让我有 机会带你进来
，条件是我 终止这次任务，
并亲自交出所罗门·莱恩。
先生，你不能这样做。
打猎。
不，我认识莱恩，他 不打算回去。
这就是我们要带他回去的原因。
这意味着这 正是他希望我们做的。
现在对于有趣的部分，
您将查看我们一起记下的笔记，
并且您会在循环中听到对话的一部分
三遍。
然后有一个空间让你重复。
例如，你会听到这个，
也许是这样，先生，
然后你会重复它。
也许是这样的先生。
试着 准确地模仿这一切。
所以当你看到这个时
，你会重复它。
也许是这样的先生。
那是 Top Gun Maverick 的作品，
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。
也许你会想要双向进行。
但重要的是，
这是你 把学到的
东西应用到你的 身体和你自己的习惯中的机会。
这就是要 改变你说话的方式。
您可能会
在一周内每天都使用此视频的音频部分，
模仿节奏，
每次您这样做时，简化都会变得更容易。
如果您 跟不上母语人士的
步伐，请进行这种慢动作模仿。
好的，这是我们的音频培训部分。
别忘了明天和后天再回来做这个音频。
你想在这里建立习惯，
所以
你在谈话时不需要考虑太多。
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。
检查每个人每次都学到 新东西。
我每周二都会制作新的英语视频
，我很乐意让你再次回到这里，
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。