Speaking English You Can Learn English Speaking with Movies Speaking English Lesson

Today you’re transforming your spoken English by studying a scene from a movie,

The Art of Self-defense, with me. When you study this way, you’ll be able to understand American movies

and TV effortlessly without subtitles.

Today, we’re really going to study how Americans shape their phrases.

We’re going to study what happens with volume, pitch, and vocal quality.

This can really quickly impact how natural you sound speaking English.

A gun to– So, the vowel almost always reduces here to the schwa.

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.

You’re going to watch the clip, then we’re going to do a full pronunciation analysis together.

This is going to help so much with your listening comprehension,

when it comes to watching English movies in TV.

But there’s going to be a training section you’re going to take what you’ve just learned,

and practice repeating it, doing a reduction, flapping a T, just like you learned in the analysis.

Okay, here’s the scene.

There is a waiting period before you can legally purchase this gun.

Oh.

So, a person who’s upset with another person can’t come in here and buy a gun to shoot that person with.

Instead, they have to wait a little while before they can do that.

Do you have any children?

No, I don’t. Just a dog.

Good.

And now the analysis.

There is a waiting period before you can legally purchase this gun.

It’s a pretty long thought group here to begin. What do you feel is the most stressed syllable there?

What has the most volume?

There is a waiting period before you can legally purchase this gun.

Definitely feeling that on the word waiting. There is a waiting period.

So that would just be the first syllable, not the second syllable, just the stressed syllable,

and that does have a flap T in it. Waiting, waiting, because the T comes between two sounds

that are vowels or dipthongs. Waiting. There is a waiting period.

There is a waiting period.

He even does a gesture on that stressed syllable. So why does it matter?

Stressed syllables are what give us our anchors in American English, so

it’s really important to have that contrast. We have those stressed, more clear, bigger syllables,

compared with smaller, less important, more quickly said syllables. There is a, there is a, there is a.

There is a,

That has a really different feel than way, there is a way, and that contrast is important.

Let’s look for other syllables in this thought group that have a little bit more length, that are stressed.

There is a waiting period before you can legally purchase this gun.

There is a legally purchase this gun.

Before you can legally purchase this gun. I feel some more stress there.

Legally purchase this gun.

But the other syllables are said pretty quickly. We’ve already studied ‘there is a’ which becomes:

There is a, There is a. See if you can practice that, simplifying your mouth movements as much as possible.

There is a, There is a, There is a.

You should be able to do that without moving your mouth very much.

There is a…

So after our stressed syllable ‘wait’, we have a bunch of unstressed syllables.

The unstressed syllable of that word: ting, ting, ting, ting period before you can,

ting period before you can, ting period before you can. Again, you have to simplify your mouth movements.

Make them minimal.

Waiting period before you can,

And let’s notice that we have a reduction here, the word can, is not said fully pronounced,

it’s reduced to the schwa. And the schwa gets absorbed by the N and is called a syllabic consonant.

So you don’t even need to try to make a vowel here.

It’s just the K sound and the N sound: kn, kn, before you can, before you can, before you can.

Before you can,

And we don’t want any breaks between our words here.

Waiting period before you can.

Right from the D sound, I’m not releasing it that would be period, period, but I’m going period,

right from the D into the B, no release, we want that smoothness,

that continuous sound linking in American English.

Period before you can,

legally purchase this gun.

Now let’s look at just the last three words, and let’s listen to that rhythm.

Legally purchase this gun.

It kind of starts to take on the feeling of a song doesn’t, it? Da-da-da-da-da-da-da.

Legally purchase this gun. Legally purchase this gun. Uuuuhhh–

with this up-down shape, when we have a more stressed syllable, and then coming down in energy and

pitch on an unstressed syllable. Legally purchase this gun. You might want to think about English,

American English, as singing, might help you link things together, might help you focus on the melody and

the rhythm of the language, and in ways that is maybe different from your own native language.

Legally purchase this gun.

Legally purchase this gun , legally purchase this gun, legally purchase this gun.

And of course, when we speed it up it, doesn’t really sound like a song, it does feel like speech.

Legally purchase this gun.

Legally purchase this gun ,

Notice how quickly I’m saying the word ‘this’. It’s not ‘this’, it’s: legally purchase this,

purchase this, this, this, this, this, this, this, this, saying it quickly with simplified mouth movements.

It’s an unstressed word it does not need to have length. It shouldn’t have length.

Because then we don’t get the contrast that we need.

We have to have short syllables so we have contrast.

Purchase this..

gun.

Oh.

And then he says so quietly, Oh, Oh, oh, oh, little up-down shape, he blinks his eyes twice, he looks nervous.

I love this actor. I think he does vulnerability so well.

Oh.

So, a person who’s upset with another person can’t come in here and buy a gun to shoot that person with.

So now we have a very long thought group. What is a thought group? It’s an utterance between pauses.

For example, this guy could have said: So, a person who’s upset with another person,

can’t come in here and buy a gun, to shoot that person with.

Did you hear how I put all of those breaks in? So, a person who’s upset with another person,

so there I made a break here, making so its own thought group, I made a break after person,

making this line its own thought group,

but he just kept going, he didn’t put in any breaks, so it’s a long thought group.

So, a person who’s upset with another person can’t come in here and buy a gun to shoot that person with.

I’m just gonna take the first part of it through here,

let’s look at our most stress syllables definitely we have so, so.

So–

a person who is upset with another person—

So a person who is– I’m actually not gonna write that as a contraction, I do feel it is another syllable.

If it was a contraction, it would be one syllable, who’s.

If it’s not a contraction, its two syllables, who is, who is, who is, who is, who is.

There’s a little difference and I do feel like I hear that as its own syllable, as its own word.

Who is up-

So a person who is upset with another person,

a little bit of stress on other, definitely some stress on per– our stressed word, person.

So a person who is upset with another person—

Also some stress on upset. Upset. Upset. Second syllable stress on that word.

So a person who is upset with another person– notice we have a stop T here in upset.

Upset with, upset with, that little pause, that little break is a stop T, we stopped the air in our vocal cords,

upset with, and that to us, gives us the feel of the T even though it’s not released.

And the reason why it’s a stop T is because the next word begins with a consonant.

Upset with–

And everything really links together, there are no breaks. So a person, here, the word a, the article a,

is just a schwa, it’s its usual pronunciation, and it links the words together so a per– so a per– no break

so a person who is upset with another person.

So a person who is upset with another person–

See if you can do that with no breaks, slow it down if you have to, really feel uuhhhhh, a slower glide up and down.

We don’t want abrupt changes in pitch. It’s usually a glide up or a glide down.

So a person who is upset with another person–

So, a person who’s upset with another person can’t come in here and buy a gun to shoot that person with.

Okay let’s look at the second half of this thought group.

Can’t come in here and buy a gun to shoot that person with.

Now, the whole second half here is quieter, isn’t it?

The general trend of a phrase in American English is we start louder and higher in pitch in general,

and throughout the sentence, we lose some volume and some vocal energy and the pitch tends to go down.

And so here, it’s a long phrase and the whole second half of it is quieter.

Here we have the actual volume of that phrase, and you can see how the first half has more higher peaks

and the second half is in general quite a bit lower, and then really tapers down at the end.

Let’s listen to that phrase and pay attention to the volume as you listen.

So, a person who’s upset with another person can’t come in here and buy a gun to shoot that person with.

And this is a really important part of American English. We want to have that feel of bigger at the beginning,

and then fading a bit at the end. Shaping your phrases like that will help you sound a lot more natural.

A lot of my most advanced students still have to do this.

They still have to figure out how to take out some of the energy and

volume at the end and let the pitch come down,

so that it really falls off a little bit and gives it the more natural shape to phrases.

Let’s listen to this one more time and again, watch the volume here at the bottom,

and really pay attention to what you hear and think about how you can shape a phrase like this.

So, a person who’s upset with another person can’t come in here and buy a gun to shoot that person with.

So now let’s go ahead and look at what words do have a little bit more length,

what syllables have a little bit more length in this second half of the thought group.

Can’t come in here and buy a gun to shoot that person with.

Can’t come in here– little stress on in, can’t come in here and buy a gun shoot to that person with.

I think those are our peaks of stress here. Shoot being the most stressed.

Can’t come in here and buy a gun to shoot that person with.

Now let’s just listen to: can’t come in.

Can’t come in.

Did you notice the stop T here?

N apostrophe T has a couple different pronunciations, and one of them is with a stop,

a little break, can’t, can’t, can’t come, can’t come,

and that’s how he pronounced this N apostrophe T contraction.

Can’t come in,

here and buy a gun to shoot that person with.

Can’t come in here and– in here and– The word ‘and’ sounds sort of like in, this is common when we reduce it.

We drop the D, we reduced the vowel to the schwa, which sounds to me a lot like the IH vowel

like in the word in, when it’s unstressed. Can’t come in here and– can’t come in here and buy a–

So maybe if you think of the word and as in,

that might help you reduce it as you say it quickly and link it to the words around it.

Can’t come in here and buy a–

Can’t come in here and buy a gun to shoot that person with.

Buy a gun. Again just like up here with ‘so a person’, ‘buy a gun’, it’s just a quick schwa that

we glide through between those two words to link. Buy a gun. Buy a gun.

Buy a gun.

And now let’s listen to the reduction of the word ‘to’.

A gun to shoot,

It’s not to, is it? It’s: a gun to, a gun to, so the vowel almost always reduces here to the schwa.

The T can be a true T or a flap T, which can sound like a D, and that’s what happens here. Gun to–

gun, your tongue is already at the roof of the mouth for the N, gun to– and rather than making a T,

we make a D and release it into the schwa. Gun to– gun to– buy a gun to–

It’s just another way to smooth that word out. You don’t have to do it. He could have said: gun to– gun to– gun to–

What’s really important is that we do do the schwa reduction,

that is something you need to do in order to sound natural.

And you know what, why not try it with that D sound? Buy a gun to– buy a gun to–

Buy a gun to–

It’s also important that it feels shorter, and that it’s less stressed. Make that as quick as you can. Da,da, da.

So it shouldn’t be DA, it should be the: duh, duh. Gun to– Gun to shoot. \

Gun to shoot.

Just like with upset the T in shoot is a stop T

because the next word begins with a consonant let’s just listen to the last four words of this phrase.

Shoot that person with.

So the stop T is really subtle, but I would definitely say it’s not totally dropped. Shoot that, shoot that.

Shoot that.

Shoot that. And another stop T at the end of that. Shoot that. Shoot that person with.

Now, do you notice, what is happening with his voice in these last four words?

Shoot that person with.

They all have a popcorn quality in the voice. Shoot that person with.

Uhhhh. We have that in the voice as he speaks. Now, it’s not that way at the beginning:

So a person,

But it is that way at the end.

Shoot that person with,

This is part of that shape of the phrase that I’ve been talking about.

More energy, more volume at the beginning, lower energy, lower volume,

also lower in pitch towards the end, and that does bring in that popcorn quality.

You would never want to speak that way all the time. So a person who’s upset with another person.

That is not good or clear English at all. But when it comes into your voice a little bit at the end,

that’s a good sign. That’s a sign that you’re taking the energy out at the end of the phrase,

and shaping the phrase in a very natural way for American English.

Shoot that person with–

Instead, they have to wait a little while before they can do that.

Okay, another pretty long thought group. Let’s listen to this phrase three times

and let’s think about what we think is the most stressed word.

Instead, they have to wait a little while before they can do that.

Instead, a little bit there, instead they have to wait a little while before they can do that.

Wait and that are probably the two most stressed words there.

Instead, they have to wait a little while before they can do that.

Let’s look at: they have to–

They have to–

They have to– they have to– they have to– they have to– Not very clear, right?

It’s that simplification of the unstressed words and syllables.

They have to– they have to– they have to–

They have to– they have to– they have to– So definitely, the word ‘to’ is not ‘too’, it’s again more of a D sound

than a schwa. They have to– they have to– they have to– The H, really weak, not even really sure I’m hearing it.

They have to–

They have to– they have to– they have to– I think you can totally get by with dropping that.

It’s not uncommon to drop the H and some of these unstressed words like him, or his,

you may have noticed it.

They have to– So unstressed AA vowel then rather than a V, I would say it’s more of an F,

they have to– they have to– they have to– they have to– they have to– they have to– they have to– they have to–

They have to–

wait a little while before they can do that.

So after those three less clear words we have that stressed word wait with that up-down shape,

more length, wait a little, okay, then we have flap Ts.

Wait a little,

Wait a– T comes between two vowel or diphthong sounds, the AY diphthong and the schwa.

So a flap will link those two words together really nicely. Wait a– Wait a– wait a little– another flap there.

Now, this one’s hard because it comes before a dark L, and I know that’s tricky. Little, little, little, little.

Wait a little, wait a little.

Wait a little.

I have a word here, I’m sorry, I have a video here on YouTube specifically how to pronounce the word little.

I’ll link to it in the video description, you can spend some time really focused on that word if you need it.

Wait a little–

while before they can do that.

Wait a little while– There’s a little bit of that stressed feeling on while as well.

Wait a little while, wait a little while.

Wait a little while, wait a little while, wait a little while

before they can do that.

Before they can do that. Before they can, before they can, before they can. These three words said quickly,

very simply, not very clear, that’s okay, that’s what we do to provide contrast with the more clear words.

The word can, again, reduced it’s not can, it’s can,

can, can. Before they can, before they can, before they can do that.

Before they can do that.

What happened to the T? That, that, it’s a stop T. Why? It’s not followed by a consonant.

I mean it is, but there’s a break here. So the rule is it’s a stop T if the next word begins with a consonant

or the next sound is a consonant, or if it’s at the end of a thought group.

That,

It’s different than a dropped T. A dropped T would be this: you can do that– you can do that–

The volume, I’m sorry, the pitch would come back down. That, but because we don’t have that, that, that, that,

it stops, sort of on the up part of the pitch, it doesn’t fall back down. Can do that.

Can do that.

That’s what signifies the stop T to us. That’s an abrupt stop, and we think: oh, T.

Can do that.

Do you have any children?

Now he asks a question.

Do you have any children?

Let’s just look at the last word for a second.

Children?

Children? Children? The pitch goes up. Children? And that is normal for yes/no questions,

so this is a yes/no question, he answers it with no. And so that’s why the pitch goes up at the end.

So that’s different from what I said about statements, which tend to go down in pitch towards the end.

Questions do too, unless they can be answered by yes/no.

If they’re a yes/no question, then in general, the pitch will go up.

Children?

Let’s look at the whole phrase now.

Do you have any children?

Do you have any children? Have and chil– have the most stress. Children?

Even though have has stress the H is dropped, I don’t hear it.

Do you have– do you have– do you have– do you have any children?

Do you have any children?

Do you– said very quickly. Do you have, do you, do you, do you have any children?

Any, any, any, also said very quickly.

Do you have any children?

Everything’s really linked together smoothly. If you find it difficult to speak this quickly, think of your anchors,

think of your stress words, and then just practice the syllables, the words before that,in one stressed word.

So you could break this up.

Do you have, do you have, do you have, and that might help you focus on: short-short, long, short-short, long.

Do you have any children? Do you have any children?

Let those stressed syllables be your anchors.

Do you have any children?

No, I don’t. Just a dog.

Okay, let’s look at the first three words here.

No, I don’t.

No, I don’t. No– up-down shape. I don’t. I is a little valley there, not stressed.

But we have these two stressed words around it.

No, I don’t. No, I don’t. And it all links together really smoothly, doesn’t it?

Right from the Oh diphthong of No, into the AI diphthong of I.

No, I don’t. And with these sounds, when it’s the OH diphthong linking into a word that begins with a vowel

or diphthong, it can help to go through the glide consonant W. No, I don’t.

That can help you smoothly connect those two sounds if you’re having trouble doing that .

No, I don’t.

No, I don’t. No, I don’t. Not really sure if I would write that as a stop T, or is it dropped T?

I think I’ll just write it as a stop T. Very subtle. No, I don’t. No, I don’t.

No, I don’t.

Just a dog.

Now we have the same stress pattern again. Just a dog. Three syllables, first and third stressed,

the middle unstressed. Just a–

The article a is the schwa and the T links right into it. Just a, just a, just a, just a dog.

Just a dog.

Now the ending sound in dog is a G. It sounds to me it’s sort of like he makes it at K.

K and G go together, they’re paired together because they have the same mouth position.

G is voiced and K is unvoiced.

So it’s a little unusual for it to sound like a K,

but it’s not something I would have noticed as a native speaker if I was watching this movie.

I’m only noticing it because we’re sitting here doing an analysis of it,

but in general, you don’t want to make the last sound and dog a K. You want to make it a G. Dog, dog.

Dog.

Good.

Good. Good. Definitely stressed. Clear up-down shape.

If I was gonna say that word unstressed, it would be this, good, good, good, good. But that’s not what it is, it’s:

Good.

A lot to study in just this short exchange. Let’s listen to the whole conversation one more time.

There is a waiting period before you can legally purchase this gun.

Oh.

So, a person who’s upset with another person can’t come in here and buy a gun to shoot that person with.

Instead, they have to wait a little while before they can do that.

Do you have any children?

No, I don’t. Just a dog.

Good.

Now for the fun part, you’ll look at the notes we took together and you’ll hear a part of the conversation

on a loop three times. Then there’s a space for you to repeat. For example,

you’ll hear this: Maybe so, sir.

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

then you’ll repeat it. Maybe so, sir.

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

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

This will be important for you if you’re more of a beginner,

or if you’re having a hard time focusing on linking or the melody.

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

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

That’s what’s going to transform your speaking. You might do well to work with the audio section of this video

every day for a week. Imitating the rhythm and the simplifications will get easier each time you do it.

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

Okay, here’s our audio training section.

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

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

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

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

learn something new each time. I make new videos on the English language every Tuesday

and I’d love to have you back here again, please subscribe with notifications,

and continue your studies right now with this video

and if you love this video, share it with a friend. that’s it guys, and thanks so much for using Rachel’s English.

今天，你正在通过学习电影《自卫的艺术》中的一个场景来改变你的英语口语

。当你这样学习的时候，你就可以在

没有字幕的情况下毫不费力地看懂美国的电影和电视了。

今天，我们真的要研究美国人是如何塑造他们的短语的。

我们将研究音量、音高和声音质量会发生什么。

这会很快影响你说英语的自然程度。

A gun to– 所以，这里的元音几乎总是归结为 schwa。

我们整个夏天都会这样做，从六月到八月，每个星期二都和我在一起，

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。

您将观看剪辑，然后我们将一起进行完整的发音分析。当

您在电视上观看英语电影时，这将对您的听力理解有很大帮助

。

但是会有一个培训部分，你将把你刚刚学到的东西

，练习重复它，做一个减少，拍T，就像你在分析中学到的一样。

好了，现场来了。

在您可以合法购买这把枪之前，有一个等待期。

哦。

所以，一个对另一个人不高兴的人不能来这里买枪来射击那个人。

相反，他们必须等待一段时间才能做到这一点。

你有孩子吗？

不，我没有。只是一条狗。

好的。

现在分析。

在您可以合法购买这把枪之前，有一个等待期。

从这里开始，这是一个相当长的思想小组。你觉得那里最重的音节是什么？

什么体积最大？

在您可以合法购买这把枪之前，有一个等待期。

绝对感觉到等待这个词。有一个等待期。

所以这只是第一个音节，而不是第二个音节，只是重读音节，

而且里面确实有一个拍音T。等待，等待，因为 T 出现在两个

元音或双元音之间。等待。有一个等待期。

有一个等待期。

他甚至在那个重读音节上做了一个手势。那为什么重要呢？

重读音节是我们在美式英语中的锚点，

所以有这种对比真的很重要。我们有那些重读、更清晰、更大的音节，

与更小、不太重要、更快说的音节相比。有，有，有。

有一种，

它与方式有一种真正不同的感觉，有一种方式，这种对比很重要。

让我们在这个思想组中寻找其他长度稍长、重读的音节。

在您可以合法购买这把枪之前，有一个等待期。

有合法购买这把枪。

在您可以合法购买这把枪之前。我觉得那里的压力更大。

合法购买这把枪。

但其他音节说得很快。我们已经研究过“有一个”，它变成：

有一个，有一个。看看你是否可以练习，尽可能简化你的嘴巴动作。

有一个，有一个，有一个。

您应该能够做到这一点，而无需过多移动您的嘴巴。

有一个……

所以在我们的重读音节“等待”之后，我们有一堆非重读音节。

那个词的非重读音节：ting, ting, ting, ting period before you can,

ting period before you can, ting period before you can。同样，你必须简化你的嘴巴动作。

使它们最小化。

在你可以之前的等待期

，让我们注意到我们这里有一个减少，这个词可以，不是说完全发音，

它被简化为 schwa。 schwa 被 N 吸收，被称为音节辅音。

所以你甚至不需要尝试在这里发出元音。

只是K音和N音：kn，kn，before you can，before you can，before you can。

在你可以之前

，我们不希望我们的话语之间有任何中断。

等待一段时间才可以。

从 D 音开始，我不会释放它，它会是句号，句号，但

我要从 D 到 B 音，没有释放，我们想要那种平滑，

那种美式英语中连续的声音连接。

在您可以

合法购买这把枪之前，请提前一段时间。

现在让我们只看最后三个字，听听那个节奏。

合法购买这把枪。

它开始呈现出一首歌的感觉，不是吗？达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达

合法购买这把枪。合法购买这把枪。 Uuuuhhh——

在这种上下形状的情况下，当我们有一个更重读的音节时，然后能量下降并

在一个非重读音节上倾斜。合法购买这把枪。您可能想将英语、

美式英语视为唱歌，它可能会帮助您将事物联系在一起，可能会帮助您专注于语言的旋律

和节奏，并且可能以与您自己的母语不同的方式。

合法购买这把枪。

合法购买这把枪，合法购买这把枪，合法购买这把枪。

当然，当我们加快它的速度时，它听起来并不像一首歌，它确实感觉像演讲。

合法购买这把枪。

合法购买这把枪，

注意我说“这个”这个词的速度有多快。不是“这个”，而是：合法购买这个，

购买这个，这个，这个，这个，这个，这个，这个，这个，用简化的嘴巴动作快速地说出来。

这是一个不重读的词，不需要长度。它不应该有长度。

因为那样我们就得不到我们需要的对比。

我们必须有短音节，所以我们有对比。

购买这把..

枪。

哦。

然后他小声说，哦，哦，哦，哦，小上下的形状，他眨了两下眼睛，看起来很紧张。

我喜欢这个演员。我认为他的弱点做得很好。

哦。

所以，一个对另一个人不高兴的人不能来这里买枪来射击那个人。

所以现在我们有一个很长的思想小组。什么是思想组？这是停顿之间的话语。

例如，这个人可以说：所以，一个对另一个人不高兴的人，

不能来这里买枪，用来射击那个人。

你有没有听到我是怎么把所有这些突破的？所以，一个对另一个人不高兴的人，

所以我在这里休息一下，让它成为自己的思想组，我一个人休息，

让这条线成为自己的思想组，

但他只是继续前进，他没有休息一下，所以这是一个长期的思想小组。

所以，一个对另一个人不高兴的人不能来这里买枪来射击那个人。

我只是把它的第一部分讲到这里，

让我们看看我们最重音的音节肯定有，所以。

所以 -

一个对另一个人感到不安的人 -

所以一个人 - 我实际上不会把它写成一个收缩，我觉得它是另一个音节。

如果是缩略词，那就是一个音节，who’s。

如果不是缩合，就是两个音节，who is，who is，who is，who is，who is。

有一点不同，我确实觉得我听到的是它自己的音节，它自己的词。

谁在上 -

所以一个对另一个人感到不安的人，对另一个人

有一点压力，绝对是对我们强调的词，人有一些压力。

所以一个对另一个人不高兴的人—

也有一些关于不安的压力。沮丧的。沮丧的。那个词的第二个音节重读。

因此，一个对另一个人感到不安的人——请注意，我们在这里有一个停止 T 表示不安。

对那个小停顿感到不安，对那个小休息是一个停止T，我们停止了声带中的空气，对我们

感到不安，对我们来说，即使它没有释放，它也给了我们T的感觉。

它之所以是一个停止T是因为下一个单词以辅音开头。

心烦意乱——

一切都真正联系在一起，没有休息。所以一个人，在这里，单词 a，冠词 a，

只是一个 schwa，它是它通常的发音，它把这些词连接在一起，所以一个 per–so a per– no break

所以一个对另一个人感到不安的人人。

所以一个对另一个

人不高兴的人 - 所以一个对另一个人不高兴的人 -

所以一个对另一个人不高兴的人 -

看看你是否可以不间断地做到这一点，如果你必须放慢速度，真的感觉uuhhhhh，上下滑行比较慢。

我们不希望音调突然变化。通常是向上滑行或向下滑行。

所以一个对另一个人生气

的人——一个对另一个人生气的人—— 所以一个对另一个人生气的人不能来这里买枪来射击那个人。

好的，让我们看看这个思想组的后半部分。

不能来这里买枪射那个人。

现在，整个下半场更安静了，不是吗？

美式英语中一个短语的总体趋势是我们开始时的音调越来越高，

并且在整个句子中，我们失去了一些音量和一些声音能量，并且音高趋于下降。

所以在这里，这是一个很长的短语，整个后半部分更安静。

在这里，我们得到了该短语的实际音量，您可以看到前半部分的峰值更高

，而后半部分总体上要低一些，然后在最后逐渐变细。

让我们听那个短语，并在听的时候注意音量。

所以，一个对另一个人不高兴的人不能来这里买枪来射击那个人。

这是美国英语非常重要的一部分。我们希望在开始时有那种更大的感觉，

然后在结束时稍微消退。像这样塑造你的短语将帮助你听起来更自然。

我的很多最先进的学生仍然必须这样做。

他们仍然需要弄清楚如何在最后拿出一些能量

和音量，让音高下降，

这样它真的会下降一点，让乐句的形状更自然。

让我们一遍又一遍地听这个，看底部的音量

，真正注意你听到的内容，思考如何塑造这样的短语。

所以，一个对另一个人不高兴的人不能来这里买枪来射击那个人。

所以现在让我们继续看看在

思想组的后半部分中哪些单词的长度更长一些，哪些音节的长度更长一些。

不能来这里买枪射击那个人。

不能进来——压力不大，不能进来给那个人买枪。

我认为这些是我们在这里的压力高峰。拍摄压力最大。

不能来这里买枪射击那个人。

现在让我们听听：进不去。进不去。

你注意到这里的停T了吗？

N 撇号 T 有几个不同的发音，其中一个是带有停顿

，一点中断，不能，不能，不能来，不能来

，这就是他如何发音这个 N 撇号 T 收缩 .

进不去，

在这里买枪射那个人。

不能进来这里和——在这里和—— “和”这个词听起来有点像进来，当我们减少它时，这很常见。

我们去掉了 D，我们将元音简化为 schwa，这听起来

很像 in 单词中的 IH 元音，当它没有重读时。不能进来–不能进来买–

所以也许如果你想到这个词并且就像在里面一样，

这可能会帮助你减少它，因为你快速说出它并将它与周围的词联系起来它。

不能进来买–

不能进来买枪来射那个人。

买枪。再次就像这里的“so a person”，“buy a gun”，这只是一个快速的 schwa，

我们在这两个词之间滑动以链接。买枪。买枪。

买枪。

现在让我们听听“to”这个词的减法。

用枪射击

，不是为了，是吗？它是：a gun to，a gun to，所以元音在这里几乎总是归结为 schwa。

T 可以是真正的 T 或襟翼 T，听起来像 D，这就是这里发生的情况。枪对–

枪，你的舌头已经在嘴巴的顶部，表示N，枪对–而不是做一个T，

我们做一个D，然后将它释放到schwa中。枪对–枪对–买枪–

这只是平息这个词的另一种方式。你不必这样做。他本可以说：枪对-枪对-枪对-

真正重要的是我们确实做了schwa减少，

这是你需要做的事情才能听起来自然。

你知道吗，为什么不试试那个 D 音呢？买枪是为了——

买枪是

为了—— 买枪是为了—— 感觉更短、压力更小也很重要。尽可能快地做到这一点。达，达，达。

所以它不应该是 DA，它应该是：duh，duh。枪对——枪对枪。 \

枪射击。

就像不高兴一样，拍摄中的 T 是停止 T，

因为下一个单词以辅音开头，让我们只听这句话的最后四个单词。

用那个人开枪。

所以停止 T 真的很微妙，但我肯定会说它并没有完全下降。拍那个，拍那个。

拍那个。

拍那个。在此结束时再停 T。拍那个。用那个人开枪。

现在，你注意到最后四个字中他的声音发生了什么吗？

用那个人开枪。

他们的声音都有爆米花的品质。用那个人开枪。

嗯。当他说话时，我们的声音中就有这种感觉。现在，一开始不是这样：

所以一个人，

但最后是这样。

射击那个人，

这是我一直在谈论的短语的一部分。

更多的能量，开始时更多的音量，更低的能量，更低的音量，

最后的音调也更低，这确实带来了爆米花的质量。

你永远都不想一直那样说话。所以一个对另一个人不高兴的人。

那根本不是好或清晰的英语。但是当它在最后一点点进入你的声音时，

这是一个好兆头。这表明你在词组末尾消耗了能量，

并以非常自然的方式为美式英语塑造了这个词组。

用– 射击那个人，

相反，他们必须等一会儿才能做到这一点。

好的，另一个相当长的思想小组。让我们把这句话听三遍

，然后想想我们认为最重音的词是什么。

相反，他们必须等待一段时间才能做到这一点。

取而代之的是，在那里一点点，相反，他们必须等待一会儿才能做到这一点。

等等，这可能是那里最强调的两个词。

相反，他们必须等待一段时间才能做到这一点。

让我们看看：他们必须——

他们必须——

他们必须——他们必须——他们必须——他们必须——不是很清楚，对吧？

这是对非重读单词和音节的简化。

他们必须——他们必须——他们必须——

他们必须——他们必须——他们必须——所以绝对地，“to”这个词不是“too”，它又更像是一个D 声音

比 schwa。他们必须——他们必须——他们必须—— H，真的很弱，甚至不确定我是否听到了。

他们必须——

他们必须——他们必须——他们必须——我认为你完全可以放弃它。

去掉 H 和一些不重读的词（例如他或他的）并不少见，

你可能已经注意到了。

他们必须– 所以没有重读的AA元音而不是V，我会说它更像是一个F，

他们必须- 他们必须- 他们必须- 他们必须- 他们必须- 他们必须——他们必须——他们必须——

他们必须——

等一会儿，他们才能做到这一点。

所以在这三个不太清楚的词之后，我们有那个重读的词等待，那个上下形状，

更多的长度，稍等一下，好吧，然后我们有拍打Ts。

稍等，

Wait a– T 介于两个元音或双元音之间，即 AY 双元音和 schwa。

因此，襟翼将这两个词很好地联系在一起。等一下——等一下——等一下——那里又是一个襟翼。

现在，这个很难，因为它出现在一个黑暗的 L 之前，我知道这很棘手。一点点，一点点，一点点，一点点。

稍等，稍等。

等一下。

我在这里有一个词，对不起，我在 YouTube 上有一个视频，特别是如何发音这个词。

我将在视频描述中链接到它，如果需要，您可以花一些时间真正专注于该词。

等一下——

在他们能做到这一点之前。

稍等片刻——同时也有一点压力的感觉。

稍等片刻，稍等片刻。

等一会儿，等一会儿，再等一会儿

，他们才能做到这一点。

在他们能够做到这一点之前。在他们可以之前，在他们可以之前，在他们可以之前。这三个词说的很快，

很简单，不是很清楚，没关系，这就是我们做的，与更清晰的词进行对比。

再次，“可以”这个词减少了“不能”，“可以”，“

可以”，“可以”。在他们能够做到之前，在他们能够做到之前，在他们能够做到之前。

在他们能够做到这一点之前。

T怎么了？那个，那个，它是一个停止T。为什么？它后面没有辅音。

我的意思是，但这里有一个休息时间。所以规则是如果下一个单词以辅音开头

或下一个声音是辅音，或者它位于思想组的末尾，则它是一个停止 T。

那，

它与一个下降的 T 不同。一个下降的 T 会是这样：你可以做到——你可以做到——

音量，对不起，音调会降低。那个，但是因为我们没有那个，那个，那个，那个，

它停止了，有点在球场的上部，它不会倒退。可以这样做。

可以这样做。

这就是对我们来说意味着停止 T 的东西。这是一个突然的停止，我们认为：哦，T.

可以做到这一点。

你有孩子吗？

现在他问了一个问题。

你有孩子吗？

让我们看一下最后一个词。

孩子们？

孩子们？孩子们？音高上升。孩子们？这对于是/否问题是正常的，

所以这是一个是/否问题，他回答不是。这就是为什么音调在最后上升的原因。

所以这与我所说的关于陈述的说法不同，陈述倾向于在结尾处下降。

问题也是如此，除非它们可以通过是/否来回答。

如果他们是一个是/否的问题，那么一般来说，音高会上升。

孩子们？

现在让我们看一下整个短语。

你有孩子吗？

你有孩子吗？吃喝玩乐——压力最大。孩子们？

即使有重音，H 也会下降，但我没有听到。

你有 - 你有 - 你有 - 你有孩子吗？

你有孩子吗？

你——说得很快。你有没有，你有没有，你有孩子吗？

任何，任何，任何，也很快的说道。

你有孩子吗？

一切都非常顺利地联系在一起。如果你觉得很难说得这么快，想想你的主播，

想想你的重音词，然后用一个重音词练习音节，之前的词。

所以你可以打破这个。

你有吗？

你有孩子吗？你有孩子吗？

让那些重读音节成为你的锚。

你有孩子吗？

不，我没有。只是一条狗。

好，我们先看这里的前三个字。

不，我没有。

不，我没有。不——上下形状。我不。我是那里的一个小山谷，没有压力。

但是我们周围有这两个重音词。

不，我没有。不，我没有。这一切都非常顺利地联系在一起，不是吗？

从 No 的 Oh 双元音到 I 的 AI 双元音。

不，我不知道。有了这些声音，当它是 OH 双元音连接到以元音或双元音开头的单词时

，它可以帮助通过滑音辅音 W。不，我不知道。

如果您在操作时遇到困难，这可以帮助您顺利连接这两种声音。

不，我没有。

不，我没有。不，我没有。不太确定我是否会将其写为停止 T，还是放弃 T？

我想我会把它写成一个停止T。非常微妙。不，我没有。不，我没有。

不，我没有。

只是一条狗。

现在我们再次拥有相同的压力模式。只是一条狗。三个音节，第一和第三重读

，中间不重读。只是

a– 文章 a 是 schwa，而 T 链接就在其中。只是一条，只是一条，只是一条，只是一条狗。

只是一条狗。

现在 dog 的结尾声音是 G。在我看来，这有点像他在

K.K 和 G 一起发出的声音，它们配对在一起，因为它们的嘴巴位置相同。

G是浊音，K是清音。

所以它听起来像一个 K 有点不寻常，

但如果我看这部电影，作为母语人士不会注意到它。

我只是注意到它，因为我们坐在这里对其进行分析，

但一般来说，你不想发出最后一个声音并将狗变成 K。你想让它变成 G。狗，狗。

狗。

好的。

好的。好的。肯定有压力。清晰的上下形状。

如果我要说这个词不重读，那就是这个，好，好，好，好。但事实并非如此，它是：

好。

在这短暂的交流中学习了很多东西。让我们再听一遍整个对话。

在您可以合法购买这把枪之前，有一个等待期。

哦。

所以，一个对另一个人不高兴的人不能进来这里买枪来射击那个人。

相反，他们必须等待一段时间才能做到这一点。

你有孩子吗？

不，我没有。只是一条狗。

好的。

现在对于有趣的部分，您将查看我们一起记下的笔记，您将听到对话的一部分

循环播放三遍。然后有一个空间让你重复。例如，

您会听到：也许是这样，先生。

然后你会重复一遍：也许是这样，先生。尝试准确地模仿这一切，这样当你看到它时

，你就会重复它。也许是这样，先生。

那是从壮志凌云：特立独行这是我们在这个夏季系列中学习的第一部电影。

您还将有机会聆听并以慢动作重复。

如果您是初学者，

或者很难专注于链接或旋律，这对您来说很重要。

也许你会想两种方式都做，但重要的是你

有机会把你学到的东西应用到你的身体和你自己的习惯中。

这将改变你的演讲方式。您可能会在一周内每天使用此视频的音频部分

。每次模仿节奏和简化都会变得更容易。

如果您跟不上母语人士的步伐，请进行慢动作模仿。

好的，这是我们的音频培训部分。

别忘了明天和后天再回来做这个音频。

你想在这里建立习惯，这样你在谈话时就不需要考虑太多。

您可以专注于单词而不是表达或发音。

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

学到新东西。我每周二都会制作新的英语视频

，希望您能再次回到这里，请订阅通知，

并立即通过此视频继续您的学习

，如果您喜欢此视频，请与朋友分享。就是这样，非常感谢您使用 Rachel 的英语。