Learn English with Movies Call Me By Your Name

In the US, summer is for sand, sun, 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.

That sounds different. Did you change it?

Well, I changed it a little bit.

Why?

I just played it the way Liszt would have played it if he altered Bach’s version.

Play that again.

Play what again?
The thing you played outside.

Oh, you want me to play the thing I played outside?

Please.
Ah.

Now the analysis.

That sounds different. Did you change it?

So we have a statement and a question. Listen to the intonation for this statement.

That sounds different.

The intonation goes down, then a yes/no question.

Did you change it?

Change it?

And the intonation goes up.

That’s often what happens with a yes/no question.

That sounds different. Did you change it?

Uh sounds, uh sounds different.

So ‘sounds’ and ‘dif’, stressed, the word ‘that’ reduced, he drops the TH. Quick little AH vowel, stop T.

Ah, ah, ah sounds, ah sounds.

That sounds– that sounds– that sounds different–

That sounds different. So a four-word sentence here, sorry, a four-syllable sentence.

And the middle two are stressed. Unstressed, that sounds, stressed, dif–, stressed, rent, unstressed.

Diff-rent.

Now this word could be three syllables, different,

but most native speakers will drop the middle syllable, he does, it’s just diff– first syllable stress, diff-rent.

Different,

Different, diff– ferent– ferent– ferent– ferent– so F sound, R sound, schwa: ferent– ferent– ferent–,

and then a stop.

Different.

He goes right into the next sound of the D.

Different, did– different– but we don’t release the T. That would be: different did– different did–

but he says: different did, different, different.

Different–

Did you change it?

Again it’s a four-syllable, section of this thought group.

Did you change it?

Change, change is stressed, the other three are unstressed. So in the first half, that statement half,

we had two stressed syllables.

And now we have just one. So, did you– flat, low in pitch:

did you– did you– did you– did you–

Did you–

change it?

Did you– did you– did you– did you–

Notice that he’s combining D with Y to make a J sound, which we would write an IPA with this symbol.

Did you– did you– did you– did you–

That’s fairly common. When a word ends in a D, and the next word is you or your,

you might hear it with ‘would you’ becoming: would you, would you, would you.

Common to hear that J sound when an ending D connects into ‘you’.

Did you–

Did you– did you– did you–

Now say that quickly, flat, low in pitch, just the way he does. Did you– before the stressed syllable ‘change’.

Did you change it?

Change it?

And then the word ‘it’ said quickly, unstressed, but the intonation does go up because of the question

and it ends in a stop T, not released because it’s at the end of a thought group.

Change it? Change it? Change it?

Well, I changed it a little bit.

Okay then he responds with a short thought group.

Tell me what you think is the most stressed syllable in that thought group.

Well, I changed it a little bit.

Little– lih– and ‘bit’ a little length, but definitely most of the stress, the peak of the stress, is unchanged.

The word ‘well’ said pretty unclearly.

Well, I changed it a little bit.

Well, I– Well, I– Well, I–

I don’t even really hear the L sound, it’s just like a W: what, what, what, before the AI diphthong:

Well, I–

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 going this for each one of the youtube videos I’m making this summer,

all eleven 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 learned about pronunciation in this video.

Back to the lesson.

So ‘well’ and ‘I’ both unstressed, simplified, and then stress on ‘changed’.

Now, the sounds in ‘changed’ are… The final sounds are: the J sound, and the D sound.

If I was going to pronounce this really clearly, I would say: changed.

But actually, when he says it, I don’t really hear the D.

Do you?

Well, I changed it a little bit.

And I’m a little surprised because the next word begins with a vowel.

If the next word began with a consonant, I would totally get why he dropped the D.

That’s pretty common to drop the D between two consonants.

But it’s followed by a vowel, still, I don’t really hear a clear D sound,

and I think you could get away with it if you tried imitate it without the D sound at all.

Changed it, changed it.

Well, I changed it a little bit.

If it links together, and is smooth and the next word is said quickly,

we have two unstressed words here in a row, I don’t think that anyone would wonder where the D was.

Also we are used to dropped Ds. Our ears are. Because we do drop Ds between consonants.

So that’s what I’m hearing him doing and I think when you’re imitating with the audio,

go ahead and think of there being no D as you work with the audio that goes with this video lesson.

Well, I changed it a little bit.

It a little bit.

We have two flap t’s.

We have a flap T in ‘it’ linking into the schwa.

It a– it a– it a– and then we have a flap T in ‘little’ so try that with me: it a little– it a little–

It’s funny when we take just those three words.

They sort of rhyme, don’t they?

It a little–

It a little bit.

It a little– it a little–

It a little bit.

And a stop T at the end of ‘bit’ because it ends the thought group.

It a little bit.

Why?

Why? Why?

A single thought group.

A sing-word thought group, I should say.

Up-down shape of stress.

Why? Why?

So it’s not flat.

Why? Why? Why?

But it’s got that up-down shape of stress.
Why? Why? Why?

Why?

I just played it the way Liszt would have played it if he altered Bach’s version.

So then we have a longer sentence, and he breaks it up into two thought groups.

He breaks it up by putting a pause after the word ‘he’.

So let’s look at this thought group and let’s find our most stressed words, and are there some reductions?

Let’s find those too.

I just played it the way Liszt would have played it if he–

I’m hearing: I just played it the way Liszt would have played it if he–

‘played’ has some length, Liszt has the most stress, I would say, the most up-down shape.

And then we have quite a few unstressed words. So ‘I’ and ‘just’ how are those pronounced?

I just played–

I just– I just– I just–

The word ‘just’, I just– I just– gets pretty unclear, both the J sound and the vowel are pretty unclear.

I just– I just– I just–

A really, really subtle J then an ST, I wouldn’t try to make a vowel there at all.

I just– I just– I just–

I just–

I just played it the way–

played it the way–

played it the way– played it the way–

So we have stressed and then three unstressed words: played it the way– it the way– it the way– it the way–

It the way– said more simply, a little bit less clearly.

Stop T in it: it the– it the– it the– It the way–It the way– ED ending in ‘played’,

just a D sound, sound before his voiced, the AY diphthong. He doesn’t do a really strong D release,

but I do think it does link into the vowel. Played it, played it. Really light with the flap there.

Played it– played it– played it the way–

played it the way–

Liszt would have played it if he–

And the composer’s name Liszt, we don’t
say the Z in that.

I’m not sure how it would be pronounced in his own native language, but in American English we just say:

Liszt, up-down shape the most stress in
that thought group.

Play it the way list play it the way Liszt–

Play it the way Liszt would have played it if he–

So we have S-T-W, sometimes we drop the T between consonants, he doesn’t drop the T,

there is a light true T release: Liszt would have– Liszt– A little bit of air escaping, just to make that name clear.

Liszt would have played it if he–

Then we have ‘would have played it’, oops, I forgot the word ‘if’, didn’t I? Would, I forgot the word ‘it’,

would have played it if he– let’s listen to those words:

Would have played it if he–

So a little bit of length and stress on ‘played’, the second time around, too. Have, how’s that pronounced?

Would have– would have– would have–

So we have: would have– would have– would have–

The word ‘have’ is reduced, it becomes just schwa V, so the H is dropped, the vowel reduces,

and it links right into the word before with a flap: would have– would have–

D between vowels is just like the T between vowels, it’s a flap of the tongue.

Now remember, we have the letter L here but that’s not a sound, it’s a silent in ‘would’.

So this sound before is the UH as in push vowel, so the D does come between two vowels, flap it:

would have– would have– would have– would have– Very light V sound before the P.

Would have– would have–

Would have played it if he–

Would have played–

would have played–

would have played if he–

Now we have: played it if he– played it if– The T comes between two vowels, the IH vowel

of ‘it’ and the IH vowel of ‘if’ so that is a flap T.

It if he– it if he– it if he– it if he–

And do you notice what’s happening with
‘he’? H is dropped.

If he– if he– if he– So: it if he– is pronounced: it if he– it if he– it if he– it if he–

It if he–

Flap T linking together, dropped H, all said really simply, quickly, flat in pitch.

It if he– it if he–

It if he altered Bach’s version.

Okay then we have a three-word thought group.
Where’s our stress?

Altered Bach’s version–

I really feel that they’re sort of all similar stress.
Altered Bach’s version.

So three stressed syllables, every word stressed.

We do have two unstressed syllables, the unstressed syllable of ‘altered’ ered– ered– ered–

and ‘version’ sion– sion– sion–.

The letter S making the DJZ sound.

Altered Bach’s version–

And we have sort of a weak but true T here, I would say: altered– altered– altered–

Altered– altered– altered Bach’s version–

Bach’s version–

the word ‘Bach’ in American English, CH makes a K sound, and when it’s put with an apostrophe S,

it sounds just like this word ‘box’.

Bach’s version–

Bach’s version– Bach’s version– Bach’s version–

Play that again.

Okay, a three-word thought group, what’s the most stressed word there?

Play that again.

‘Play’ has some stress but so does ‘that’. Play that again. Play that again. And he’s pointing over his shoulder.

He is talking about something that he played when they were outside. So he’s pointing to the outside. Play that.

Play that again.

That’s why the word ‘that’ has some stress there, it’s referencing the place, the specific song,

that he wants to hear again.

Play that again.

Play that again. That again– that again–

Do you hear that flap T linking those two words?

That again– that’s because the T comes between two vowels.

Play that again.

Play what again?

Now, similar stress but instead of ‘that’, we have ‘what’. Play what again?

And just like we had a flap T connecting ‘that’ and ‘again’, we have a flap T connecting ‘what’ and ‘again’.

Using flap T’s to connect words like this, so natural, so American. Play what again?

Play what again?

Play what again?
The thing you played outside.

What is the stress of this sentence?

The thing you played outside.

A little stress on ‘play’ and ‘side’ but most stress on ‘thing’. The word ‘the’ leads up to that.

The thing you played outside.

And then notice that each of these Peaks, each of these little stressed Peaks,

is less than ‘thing’ and they’re just part of that line that falls down. So we have a big swell on ‘thing’,

the thing you played, a little swell back up on ‘played’, and ‘outside’.

Ai– ai– A little swell again on ‘side’ but they’re all just

a little bump up in the downward fall of the pitch after the peak of stress on the word ‘thing’.

The thing you played outside.

All super smoothly connected, no skips, no jumps.

The thing you played outside.

Oh, you want me to play the thing I played outside?

So a longer thought group here. Our stressed syllables are: Oh, you want me to play the thing I played outside?

And ‘outside’ has a lot of stress.

Outside, outside.

The pitch goes up the most there.

Lots of pitch variation, that is stress. I think he knows exactly what piece this guy wants him to play,

he’s sort of playing dumb here.

He knows he wants him to play the song
he played outside.

So now he’s really stressing ‘outside’.

Oh, you want me to play the thing I played outside?

‘Outside’

said really quickly, let’s look at the word ‘want’, it has a little bit of length, what happens to this T?

Oh, you want me to play–

I don’t hear it, and actually, I don’t really hear an N either.

It’s common to drop the T after N. It’s also common to drop the T between two consonants.

Want me– but when an N and an M are followed together like in the word ‘grandma’ when we drop the D,

it’s common to let the N get lost and just to make an M.

Grandma– I would make that with just an M, no N, no D, in case it’s unclear, I’m talking about this word:

‘grandma’ often becomes ‘gramma’ with no N and no D, and that’s happening here: want me– I’m dropping the T,

then the N and the M go together, but we tend to just drop the N in that case.

So it’s: wamme– wamme– the vowel, and then skipping right to the next sound, of the M sound.

Oh, you want me–

Want me– want me–
Oh, you want me– Oh, you want me–

Oh, you want me–

Want me to play– want me to play–

What happens to the word ‘to’?

Me to– Me to– Me to– Me to–

It reduces, it changes.

Flap T linking the two words together, and the vowel changes to the schwa.

Me to– Me to– Me to– Me to– So we have M consonant EE vowel, flap, and the schwa.

Me to– Me to– Me to– Me to–

Flat, low in pitch, unstressed.

You want me to– you want me to– you want me to–

Oh, you want me to–

Oh, you want me to play the thing I played outside?

Play the thing–

‘The’ unstressed compared to ‘play’ and ‘thing’. Play the thing– play the thing– play the thing I played–

So we have stressed, unstressed, stressed, unstressed, stressed.

Five syllables in row, alternating.

‘The’ and ‘I’ flatter, lower in pitch.

Play the thing I played. Try that with me. It’s uuuhhhhhh.

Play the thing I played– play the thing I played–

play the thing I played–

Play the thing I played–

The word ‘the’, it’s said really quickly, we can’t ‘the’ bring the tongue tip all the way through.

Play the, play the, play the– Said very quickly, the back of the tongue touching,

sorry, the tip of the tongue touching the backs of the teeth, but it’s not really coming through.

Play the, play the, play the, play the thing–
play the thing I played.

Now, I know this is going to be tricky, we have to ths,

unvoiced TH, and even though you’re going to simplify that with a shortcut,

not bringing the tongue tip through, you do need to on the word ‘thing’

because it’s an unvoiced TH and the tongue tip does have to come through there.

So this is tricky, it’s gonna be hard to say this quickly.

Why don’t we practice right now, just saying it more slowly.

Play the thing I played– play the thing I played– Uuuhhhhh–

And make sure it’s all staying really connected, maybe move your head a little bit

on the stressed syllable just to help you feel that.

Play the thing I played– play the thing I played–

Play the thing I–

Play the thing I played outside?

And finally, played outside, outside, outside, outside.

We already talked about that pitch variation bringing stress to that word.

Played outside?

Please.

Please. Single word, single syllable thought group, up-down shape.

Please.

Ah.

What you say when you realize something, when you understand something.

Ah.

Again, up-down shape of stress, just like any other word that is stressed in American English.

Ah.

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

That sounds different. Did you change it?

I changed a little bit.

Why?

I just played it the way Liszt would have played it if he altered Bach’s version.

Play that again.

Play what again?

The thing you played outside.

Oh, you want me to play the thing I played outside?

Please.

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，夏天适合沙滩、阳光和大片。

今年夏天，我们将使用这些电影来学习英语，并研究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，我们都在 Rachel’s English 看电影学习英语。

如果您是我频道的新手，请单击订阅，不要忘记通知按钮。

让我们开始吧。

首先，场景。

那听起来不一样。你改了吗？

嗯，我稍微改了一下。

为什么？

如果李斯特改变了巴赫的版本，我只是按照李斯特的演奏方式演奏它。

再玩一遍。

又玩什么？
你在外面玩的东西。

哦，你想让我玩我在外面玩的东西吗？

请。
啊。

现在分析。

那听起来不一样。你改了吗？

所以我们有一个声明和一个问题。听这句话的语调。

那听起来不一样。

语调下降，然后是是/否问题。

你改了吗？

更改？

并且语调上升。

是/否问题通常会发生这种情况。

那听起来不一样。你改了吗？

呃听起来，呃听起来不一样。

所以’sounds’和’dif'，强调，‘that’这个词减少了，他放弃了TH。快速的小AH元音，停止T。

啊，啊，啊声音，啊声音。

那听起来——

那听起来——那听起来不一样——那听起来不一样。所以这里是四字句，对不起，是四字句。

中间的两个是重音。 Unstressed，这听起来，有压力，diff–，有压力，租，没有压力。

差租。

现在这个词可能是三个音节，不同，

但大多数母语人士会去掉中间的音节，他确实，这只是 diff–第一个音节重音，diff-rent。

不同的，

不同的，不同的– ferent– ferent– ferent– 所以F 音，R 音，schwa：ferent– ferent– ferent–，

然后停止。

不同的。

他直接进入 D 的下一个声音。

不同，确实——不同——但我们不释放 T。那将是：不同的——不同的——

但他说：不同的，不同的，不同的 .

不同——

你改变了吗？

你改了吗？

同样，它是这个思想组的一个四音节部分。

你改了吗？

变化，变化是重音，其他三个是无重音。所以在前半部分，即陈述部分，

我们有两个重读音节。

现在我们只有一个。所以，你有没有 - 平缓，音调低：

你 - 你 - 你 - 你 - 你 - 你 -

改变了吗？

你有没有——你有没有——你有没有——

注意到他把 D 和 Y 组合成一个 J 音，我们会用这个符号写一个国际音标。

你 - 你 - 你 - 你 - 你 -

这很常见。当一个单词以 D 结尾，而下一个单词是 you 或 your，

你可能会听到“would you”成为：would you, would you, would you。

当结尾 D 连接到“你”时，通常会听到 J 的声音。

你

有没有——你有没有——你有没有——

现在快点说，平淡，低调，就像他一样。你有没有——在重读音节“改变”之前。

你改了吗？

更改？

然后“它”这个词说得很快，没有重读，但是因为这个问题，语调确实上升了

，它以停止T结尾，没有释放，因为它在一个思想组的末尾。

更改？更改？更改？

嗯，我稍微改了一下。

好的，然后他用一个简短的思想小组做出回应。

告诉我你认为那个思想组中压力最大的音节是什么。

嗯，我稍微改了一下。

一点点——lih——和“一点”一点点长度，但绝对大部分压力，压力的峰值，没有改变。

“好”这个词说得很不清楚。

嗯，我稍微改了一下。

嗯，

我–嗯，我–嗯，我–我什至听不到 L 音，就像 W：什么，什么，什么，在 AI 双元音之前：

嗯，我–

嗯，我——

好吧，我——

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，我会为今年夏天制作的每一个 youtube 视频，

所有 11 个通过电影学习英语的视频。

因此，请点击此链接，或在视频说明中找到该链接，以获取免费下载的音频课程。

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。

所以“好”和“我”都没有重读，简化，然后强调“改变”。

现在，‘changed’ 中的声音是…… 最后的声音是：J 声音和 D 声音。

如果我要真正清楚地发音，我会说：改变了。

但实际上，当他这么说的时候，我并没有真正听到 D。

你呢？

嗯，我稍微改了一下。

我有点惊讶，因为下一个单词以元音开头。

如果下一个词以辅音开头，我完全明白他为什么

要去掉 D。在两个辅音之间去掉 D 是很常见的。

但是它后面是一个元音，但我并没有真正听到清晰的 D 音，

而且我认为如果你尝试在没有 D 音的情况下模仿它，你可以逃脱它。

改了，改了。

嗯，我稍微改了一下。

如果它连在一起，流畅，下一个词说得很快，

我们这里连续有两个非重读词，我想没有人会想知道D在哪里。

我们也习惯了掉Ds。我们的耳朵是。因为我们确实在辅音之间去掉了 Ds。

所以这就是我听到他在做的事情，我认为当你在模仿音频时

，继续想想当你处理这个视频课程的音频时没有 D。

嗯，我稍微改了一下。

它一点点。

我们有两个襟翼t。

我们在“它”中有一个襟翼 T 连接到 schwa。

It a- it a- it a- 然后我们在“little”中有一个 Flap T，所以和我一起尝试一下：it a little- it a little-

当我们只用这三个词时，这很有趣。

它们有点押韵，不是吗？

一点点——

一点点。

它一点点。

一点点——一点点——

一点点。

在“位”末尾加上一个停止 T，因为它结束了思想组。

它一点点。

为什么？

为什么？为什么？

一个单一的思想组。

我应该说一个单字思想团体。

应力的上下形状。

为什么？为什么？

所以不是平的。

为什么？为什么？为什么？

但它有这种上下压力的形状。
为什么？为什么？为什么？

为什么？

如果李斯特改变了巴赫的版本，我只是按照李斯特的演奏方式演奏它。

所以我们有一个更长的句子，他把它分成两个思想组。

他通过在“他”这个词之后停顿来打破它。

那么让我们看一下这个思想组，让我们找到我们最强调的词，有没有一些减少？

让我们也找到那些。

我只是按照李斯特如果他会演奏的方式演奏它——

我只是按照李斯特如果他会演奏它的方式演奏它——

我只是按照李斯特如果他——如果他会演奏它的方式演奏它——

我听到的是：我只是按照李斯特的方式弹奏，如果他——

“弹奏”有一定的长度，李斯特的压力最大，我会说，最上下的形状。

然后我们有很多不重读的词。那么“I”和“just”是如何发音的？

我刚刚弹奏——我只是——我只是——

我

只是——“只是”这个词，我只是——我只是——变得很不清楚，J 音和元音都不太清楚。

我只是 - 我只是 - 我只是 -

一个非常非常微妙的 J 然后是一个 ST，我根本不会尝试在那里发出元音。

我只是…

所以我们先重读，然后是三个非重读词：play it the way- it the way- it the way- it the way-

It the way- 说得更简单，有点不太清楚。

把T停在里面：它–它–它–它的方式–它的方式- ED以’played’结尾，

只是一个D音，在他发声之前的声音，AY双元音。他没有做一个非常强烈的 D 释放，

但我确实认为它确实链接到元音。玩过，玩过。那里的襟翼真的很轻。

弹奏——弹奏——以这种方式弹奏——以这种方式弹奏——如果他——

李斯特会弹奏——

而作曲家的名字李斯特，我们不会
在其中说Z。

我不知道用他自己的母语怎么发音，但在美式英语中我们只是说：

李斯特，上下塑造了
那个思想群体中最大的压力。

以列表的方式

演奏以李斯特的方式演奏以李斯特的方式演奏以李斯特的方式演奏以李斯特的演奏方式演奏

他没有放弃 T，

有一个轻的真正的 T 释放：李斯特会——李斯特——有一点空气逸出，只是为了让这个名字更清楚。

Liszt 如果他会弹它——如果他——

李斯特会弹它——如果他——

李斯特会弹它——

然后我们“会弹它”，哎呀，我忘了“如果”这个词，没有一世？会，我忘了“它”这个词，

如果他会弹奏——让我们听听那些话：

如果他

会弹奏——如果他

会弹奏——如果他会弹奏——如果他会弹奏——会弹奏

如果他–

所以有点长度和强调’played’，第二次也是。有，怎么发音？

would have– would have– would have–

所以我们有：would have– would have– would have–

“have”这个词被简化了，它变成了 schwa V，所以 H 被去掉了，元音减少，

并且它用一个襟翼直接连接到之前的单词： would have– would have–

元音之间的 D 就像元音之间的 T 一样，它是舌头的襟翼。

现在请记住，我们这里有字母 L，但那不是声音，它是 ‘would’ 中的无声。

所以这个之前的声音是 UH 就像在推动元音中一样，所以 D 确实出现在两个元音之间，拍打它：

would have– would have– would have– would have– 在 P 之前非常轻的 V 声音。

– 本来会– 如果他会玩–会玩–会玩–会

玩- 如果他

会

玩-

如果他会玩- 如果他–

会玩-

现在我们有了：如果他–如果–就弹- T 在两个元音之间

，‘it’ 的IH 元音和’if' 的IH 元音，所以这是一个

翻盖T。如果他– 它如果他 - 如果他 - 如果他 - 如果

他 - 你注意到
“他”发生了什么吗？ H 被丢弃。

if he– if he– if he– 所以：it if he– 发音：it if he– it if he– it if he– it if he–

It if he–

Flap T 连接一起，放下H，都说得很简单，很快，音调平缓。

如果他——如果他——如果他改变了巴赫的版本。

好的，那么我们有一个三字思维小组。
我们的压力在哪里？

变奏巴赫的版本-

我真的觉得他们都是类似的压力。
改变了巴赫的版本。

所以三个重读音节，每个单词都重读。

我们确实有两个非重读音节，非重读音节 ‘altered’ ered– ered– ered–

和 ‘version’ sion– sion– sion–。

使 DJZ 发声的字母 S。

变体巴赫的版本- 变体

巴赫的版本- 变体

巴赫的版本-

我们在这里有一个弱但真实的 T，我想说：变体–变体–变体–变体–

变体- - 巴赫版本——

巴赫版本——

美式英语中的“巴赫”一词，CH发K音，加上撇号S，

听起来就像“盒子”这个词。

巴赫的版本——

巴赫的版本——巴赫的版本——巴赫的版本——

再播放一遍。

好的，一个三字思维小组，那里最重音的词是什么？

再玩一遍。

“玩”有一些压力，但“那个”也有。再玩一遍。再玩一遍。他指着他的肩膀。

他说的是他在外面玩的东西。所以他指着外面。玩那个。

再玩一遍。

这就是为什么“那个”这个词在那里有一些重音，它指的是他想再次听到的地方，特定的歌曲

。

再玩一遍。

再玩一遍。再一次——再一次——

你听到连接这两个词的那个襟翼T了吗？

再说一遍——那是因为 T 出现在两个元音之间。

再玩一遍。

又玩什么？

现在，类似的压力，但不是“那个”，我们有“什么”。又玩什么？

就像我们有一个连接“那个”和“再次”的襟翼 T，我们有一个连接“什么”和“再次”的襟翼 T。

用flap T’s来连接这样的词，如此自然，如此美国。又玩什么？

又玩什么？

又玩什么？
你在外面玩的东西。

这句话的重音是什么？

你在外面玩的东西。

对“玩”和“边”有一点压力，但对“事情”的压力最大。 “the”这个词导致了这一点。

你在外面玩的东西。

然后注意这些峰中的每一个，这些小的压力峰中的每一个

，都不是“东西”，它们只是下降的那条线的一部分。所以我们对“东西”有很大的影响，

你玩过的东西，在“玩过”和“外面”上有一点点支持。

哎——哎——“侧面”又有点膨胀了，但在

“东西”这个词的压力达到顶峰之后，它们都只是在球场向下下降时的一点点凸起。

你在外面玩的东西。

所有超级流畅的连接，没有跳跃，没有跳跃。

你在外面玩的东西。

哦，你想让我玩我在外面玩的东西吗？

所以这里有一个更长的思想小组。我们的重读音节是：哦，你要我弹我在外面弹的东西吗？

而“外面”有很大的压力。

外面，外面。

那里的球场升得最多。

很多音高变化，这就是压力。我想他很清楚这家伙想让他弹什么曲子，

他在这里有点装傻。

他知道他想让
他演奏他在外面演奏的歌曲。

所以现在他真的在强调“外面”。

哦，你想让我玩我在外面玩的东西吗？

‘外面’

说得真快，我们看‘想要’这个词，有点长，这个T是怎么回事？

哦，你要我弹奏——

我听不到，实际上，我也听不到N。

在 N 之后删除 T 很常见。在两个辅音之间删除 T 也很常见。

想要我——但是当我们放弃 D 时，当 N 和 M 像“奶奶”这个词一样紧跟在一起时

，通常会让 N 丢失而只是做一个 M。

奶奶——我会用只是一个 M，没有 N，没有 D，如果不清楚，我说的是这个词：

“奶奶”经常变成没有 N 和没有 D 的“语法”，这发生在这里：想要我——我删除 T，

然后 N 和 M 一起出现，但在这种情况下我们倾向于只删除 N。

所以它是：wamme——wamme——元音，然后直接跳到下一个音，M 音。

哦，你想要我——

想要我——想要我——
哦，你想要我——哦，你想要我——

哦，你想要我——

想要我玩——想要我玩——

“to”这个词怎么了？

我对——我对——我对——我对——

它减少了，它改变了。

Flap T 将两个单词连接在一起，元音变为 schwa。

我到– 我到– 我到– 我到– 所以我们有 M 辅音 EE 元音、襟翼和 schwa。

我对– 我对– 我对– 我对–

平坦，音调低，无重音。

你想要我——你想要我——你想要我——

哦，你想要我——

哦，你想要我玩我在外面玩的东西？

Play the

thing——与“play”和“thing”相比，“The”不重读。玩这个东西——玩那个东西——玩我玩的东西——

所以我们有压力，没有压力，有压力，没有压力，有压力。

五个音节一排，交替出现。

“The”和“I”更平，音调更低。

玩我玩的东西。跟我一起试试。是呜呜呜。

弹我弹的——弹我弹的——

弹我弹的——

弹我弹

的——“the”这个词，说得真快，我们不能 ‘the’ 将舌尖一直带入。

弹，弹，弹—— 说得很快，舌根碰到了，

对不起，舌尖碰到了牙根，但这并没有真正通过。

玩，玩，玩，玩东西——
玩我玩的东西。

现在，我知道这会很棘手，我们必须这样做，

清音 TH，即使你要用快捷方式简化它，

而不是让舌尖穿过，你确实需要使用“事物”这个词

因为它是一个清音 TH 并且舌尖必须从那里穿过。

所以这很棘手，很难说得这么快。

我们现在为什么不练习，慢慢说。

弹奏我弹奏的曲子——弹奏我弹奏的曲子——呜呜呜——

并确保一切都保持真正的联系，也许

在重读音节上稍微移动你的头来帮助你感觉到。

玩我玩的东西——

玩我玩的东西——玩我玩的东西——玩我玩的东西——

玩

我在外面玩的东西？

最后，在外面，外面，外面，外面玩。

我们已经讨论过音高变化会给这个词带来压力。

在外面玩过？

请。

请。单字，单音节思想组，上下形态。

请。

啊。

当你意识到某事，当你明白某事时，你会说什么。

啊。

同样，重音的上下形状，就像美式英语中强调的任何其他单词一样。

啊。

让我们再听一遍整个对话。

那听起来不一样。你改了吗？

我改变了一点。

为什么？

如果李斯特改变了巴赫的版本，我只是按照李斯特的演奏方式演奏它。

再玩一遍。

又玩什么？

你在外面玩的东西。

哦，你想让我玩我在外面玩的东西吗？

请。

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。