Learn English with Songs TAYLOR SWIFT WILDEST DREAMS Rachels English

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Taylor swift, wildest dreams.

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Alright, let’s get started.

He said, “Let’s get out of this town”

So she put a little brake here. So, we’ll call that two separate thought groups.

So in this first three-word thought group, what word has the most stress?

He said, “Let’s”

Let’s– has much more stress, more volume, the up-down shape. Da da da. It’s longer.

So that’s the same as it would be in spoken English.
He said, “Let’s”– He said, “Let’s”–

The three words are smoothly connected, there are no breaks between them

the sound just flows right through that phrase.

He said, “Let’s”

He said, “Let’s get out of this town…”

Now we have two T’s in the phrase, in the words, get and the word out. And she pronounces them differently.

So a T is usually a flap T which sounds
sort of like an American D.

Outta, outta, outta, if it comes between two vowels or diphthongs, so they both do.

Get out of– get out of– dadadada–

So in spoken English, it would be really common to make both of those a flap T,

but she doesn’t do that with the first. The first, she makes a stop T, the second T is a flap T,

smoothly linking those. Get out of– The word ‘of’ is reduced, it’s just the schwa.

Out of– out of–

Get out of–

Now, the word ‘get’ is pronounced, how?

Get out of–

Get, get, get, get, get.

That’s a stop T. You might think: I don’t hear a T. That would sound like this: get, but a stop T: get, get,

is different from no T at all.

No T at all would sound like this: geh, geh, the voice would go down in pitch, it would be a little bit longer,

the stop T is an abrupt stop, and that is what signifies the T. Get, get, get.

We don’t hear a T sound, but because there’s an abrupt stop, our minds as native speakers, hear that as a T.

Get, get, out of, get out of.

So she puts a break there by making that stop T, and then she reattached

the phrase on the OW diphthong rather
than linking with a flap T.

Get out of–

Get out of this town.

Out of this town. And then the rest of the words link together really smoothly.

Out of this town. The two most stressed words there. They’re longer, they’re stressed.

Out of this town.

Out of thi s town.

Out of this town.

So ‘of’ and ‘this’, of this– of this– of this– lower in pitch, have an unstressed feeling.

Out of this town.

The word ‘town’ has the OW diphthong,
and the N consonant.

I have noticed this combination can be tricky for non-native speakers, especially my students from China,

tend to say town.

And they nasalized the vowel and don’t make an N, but that’s not what we do in American English.

Tow– ow– The OW diphthong is not nasalized at all, and then the tongue comes up for the N.

Town. Town. Town.

So make sure your tongue is making contact with the roof of the mouth, the tongue tip does lift, that’s the N.

If you feel like your tongue tip isn’t lifting, then you’re probably nasalizing the vowel or the diphthong here.

Town, town. We do not want that. Town. Town. Nnnn. N consonant at the end.

Town.

Town. Drive out of the city.

What do you hear as the most stressed words in this next phrase?

Drive out of the city.

Drive.

Drive out of the city.

Drive and ‘ci’ the stressed syllable of city,
have the most stress.

Da-da-da-da-da-da. They’re longer.

That rhythmic contrast of long and short is important in singing, but also in spoken English.

All of these words linked together really smoothly, there are no breaks, drive out of the city–

dduuuhhhh– smooth connection, the V sound right into the OW diphthong of ‘out’.

That is a flap T again.

Out of, out of, out of, out of the, out of the.

And the schwa vowel just links right into the word ‘the’. Of the, of the. Out of the, out of the.

Drive out of the city.

City.

What’s happening with this T? It is a flap T, isn’t it? City. Da-da-da-da-da.

The tongue flaps against the roof of mouth, that’s because it comes between two vowels: city.

City.

City. Away from the crowds.

Away from the crowds.

The stress of how it’s sung is exactly like the stress of how it would be spoken.

Away. Stress on ‘way’, from the crowds, stress on ‘crowds’. Away from the crowds. Away from the crowds.

So the first syllable of ‘away’, we see the letter A, but it’s just the schwa.

Uh, uh, uh.

Away. Away from the– They’re not that clearly pronounced, are they?

Away from the crowds.

From the– from the– from the–

She reduces the vowel, we would do this in spoken English, too.

It’s the schwa: from, from, from, from the, from the.

And all of these words in this phrase link
together really smoothly.

From the–

from the crowds.
I thought heaven can’t help me now.

I thought heaven–
A little bit of length on ‘thought’, da-da, I thought–

but then more stress, more volume in the voice, heaven can’t help me now, in those three syllables.

I thought heaven can’t help me now.

What about the T in ‘thought’? Do you hear that released?

Tttt..

I thought–

No. There’s no release. It’s a stop T.

I thought– I thought–

I thought–

A T is a Stop T when the next word begins with a consonant as it does here.

Sometimes, the beginning H is silenced, like in the word ‘hour’.

But in the word ‘heaven’, it’s not silent. We do say that H, that’s a consonant sound.

So the T before is a stop T.

I thought heaven–

I thought heaven can’t help me now.

What about the T in ‘can’t’? Do you hear tttt, a released T?

Can’t help me–

No. T is not released that often, actually, a true T, it’s not all that common.

And in N apostrophe T contractions, there are a couple of different ways that T will be pronounced.

Sometimes, it’s totally dropped, and sometimes, it’s a stop, and it’s a stop here.

Can’t help– can’t help– can’t help–

It’s not: can’t help– and it’s also not: can’t help– but it’s: can’t help–

Little tiny lifts in the voice there. That stop signifies the T to Americans.

Can’t help–

She is using a little bit more breath on the two h’s, and if we exaggerate the first sound,

the first consonant of a word that brings a little bit more stress, a little bit more drama to it,

heaven, help–

Heaven can’t help–

Heaven can’t help me now.

Help me now.

Help.

What happens to that P? Help. Right? It’s released. Help. But just like T, P is also a stop consonant.

So the lips come together. They close. That cuts off the air. Help. And then they open, and some air escapes.

That’s called the release.

But, it’s common in American English when the next word begins with a consonant

like it does here to skip the release.

So you would close your lips for the P, help me,

but then when you open them, you go right into the next word rather than releasing that air first.

So she’s also making that a stop consonant.

The L in the word ‘help’ is a dark L because it comes after the vowel in that syllable.

Help. Help.

You actually don’t need to lift your tongue tip for that.

You’ve probably learned that to make an L, you lift your tongue tip.

Uhl. But that’s only for a light L.

For a dark L, we usually don’t lift our tongue tip.

And in fact, if you do, it makes it sound too forward in the mouth and it doesn’t sound quite right.

Help, hel, hel, help.

We don’t want that. We want hel hel help.

And to make that uhl, dark L sound, we don’t lift the tongue tip.

We’d leave the tongue tip down and with the back of the tongue, we press down and back a little bit.

Uhl.

Hel– help. Help me. Help me now.

Help me now.

Help me now.
Nothing lasts forever.

We’re really learning a lot about
consonants in this, aren’t we?

And the way she sings them is exactly like how we do them in spoken English, too.

Let’s look at the next phrase. Because again, something interesting is happening with some ending consonants.

Nothing lasts forever.

Nothing lasts forever.
So first of all, our stress more volume,

a little bit more length.

Nothing lasts forever.

The middle syllable of ‘forever’ is what’s stressed.

Let’s talk about the NG ending here. Nothing.
What do you hear?

Nothing–

So it’s a little bit different. The NG sound gets changed to an N sound. Nothin. Nothin.

It’s fairly common to do that with ING ending words, especially in sung English.

You don’t want to do it all the time and spoken English, because then it would start to sound

a bit like a regional accent, but definitely, everyone does it some in American English.

Nothing–

Nothing lasts forever.

Lasts.

STS cluster and then an F right next to it. So we have four consonants in a row. How does she pronounce it?

Nothing lasts forever.

Well, it’s definitely not: lasts forever, lasts forever.

I think what she’s doing is dropping these two. I think you can get away with that. Lasts forever.

Nothing lasts forever.

Everyone would know that you had said ‘lasts’ even though you didn’t say that.

It’s just the way that we would sometimes shorten a word.

It’s not uncommon to drop a consonant like T between two other consonants,

and here we have T and S between S and F, and it’s just natural to drop them and link it into the next word.

Lasts forever. Nothing lasts forever.

Natural and spoken English, as well as sung English.

Nothing lasts forever.

The word ‘forever’ you see the letter O,
you might want to say ‘for’

but that’s not how it’s pronounced it’s
pronounced: fer– forever, forever.

So I would write that with the schwa: for– eh– and then the stressed syllable is next.

So that syllable is not stressed, it’s not: for, its: fur, fur, forever– forever–

Forever.

Forever.
But this is gonna take me down.

But this is gonna take me down.
Okay, lots of stress on ‘take’,

much more up-down shape there, higher pitch, some stress on ‘this’ but: this– more volume, more intensity.

Take me down.

But this is gonna take me down.

Let’s look at the T in ‘but’, what happens here?

But this–

But this– but this– but this– It’s not but.

It’s but, but, but, but.

Said really quickly, it’s an unstressed word,

I’d write that with a stop T. But, but, but this, but this,

but this is gonna–

‘Gonna’, of course, short for ‘going to’ and all of these words linked together really smoothly.

This is gonna take me down.

No breaks.

In American English, things link together really smoothly.

Now, we have the word ‘down’, just like ‘town’.

It’s the OW diphthong, and the N consonant.

I know a lot of my students say something like: down, with a nasalized diphthong, we don’t want that.

Dow– no nasal quality at all. Dow– and then the N sound. Dow–nnn– Dow–nnn– Down. Down.

Down.

Down. He’s so tall and handsome as hell.
Now, let’s listen to just the words: Down.

He’s so–

Down. He’s so–

Do you notice there’s no H in ‘he’s’?

Down. He’s so– He’s so– He’s so– Just the EE vowel.

That’s a fairly common reduction. We drop the H in some of these function words like he, his, him/her,

that are really common.

So she’s dropped to the H there. This happens in spoken English, too.

Down. He’s so–

The apostrophe S in ‘he’s’ is a light week Z sound, but when it links into an S, which is stronger,

then the S tends to just take over that Z.

So you can think that Z is not actually there. It’s the EE vowel and then S. He’s so– He’s so– He’s so tall.

He’s so tall.

Tall. Higher pitch. That word is stressed. He’s so– He’s so tall.

He’s so tall.

Tall.

Also down here, hell and well, these are all Dark Ls.

They all come at the end of the word.

And you don’t need to lift your tongue tip for that. Tall, hell, well. Uhl, uhl, uhl.

That ending sound, that dark sound does not require tongue lift. Uhl.

And if you do lift your tongue, there is a chance you will mess up the dark sound.

He’s so tall.

He’s so tall and handsome as hell.

And– that word is reduced. Nnnn– you could write that schwa N, there’s no D sound.

And handsome. And handsome.

And handsome.

What about the D in handsome? Not there. Handsome. Handsome.

And handsome as hell.

Hell with a little bit of extra breath in that H, just to bring a little bit more stress and drama to that word.

And handsome as hell. The word ‘as’, not pronounced with the AH vowel. That’s reduced. ‘As’ becomes: as, as.

You could think of it as the schwa, or the IH as in sit vowel. Handsome as– handsome as– handsome as hell.

Handsome as hell.

Handsome as hell. He’s so bad but he does it so well.

Here, the second time I am hearing the H on he’s,

he’s so– again, there’s no Z sound, just linked together with an S sound. He’s so– he’s so– he’s so– he’s so bad.

He’s so bad.

He’s so bad but he does it so well.

Bad, with some stress.

A little bit more breathy there, higher pitch, longer.

He’s so bad but he does it– ‘But he does’ becomes: but he– but he– What? That’s so weird!

It sounds like B-U-D-D-Y, buddy,

and that’s because she drops the H in ‘he’ so we have an ending EE vowel

and now, the T comes between two vowels so that’s a flap T.

But he– but he– but he–

But he– but he– but he does it so well.

This is perfectly natural and spoken English as well.

But he– but he does it so well.

Some stress on ‘does’ and also a lot on ‘well’. She does some interesting things with the notes there,

that is a stressed word.

But he does it so well.

All links together really smoothly,ending Z sound in ‘does’ links right into the IH vowel.

Does it– does it– now, what about this T?

Does it so–

Does it so– does it so–

Do you hear tttt?

It’s not there. It’s a stop T, does it so– does it so–

That’s because the next word begins with a consonant, the S sound.

Does it so well.

Does it so well.
I can see the end as it begins–

I can see the end as it begins–

Very clear with the stress there as far as the intonation, the pitch of the song, the melody.

I can see the end as it begins.

‘Begin’, two-syllable word with second syllable stress.

I can see the–

Now, the vowel in ‘the’ is pronounced ‘the’ instead of ‘the’ because the next word begins with a vowel.

So the rule is: if the next word begins with a vowel or diphthong, make it ‘the’.

If the next sort of begins with a consonant, make it ‘the’.

I can see the end–

I can see the end– I can see the– I can, I can, I can.

Nice ‘can’ reduction just like in spoken English.
Can, can, can.

When it’s a helping verb, that is not the main verb, the main verb is ‘see’.

Then it’s going to be reduced. It’s not can, its can, I can see, I can see the end.

I can see the end–

I can see the end as it begins.

Now, here, ‘as it’, she doesn’t reduce the vowel.

It is the AA in bat vowel, and the Z sound. The Z sound links right into the next vowel IH. As it– as it–

What do you think is gonna happen with this T? The next word begins with a consonant.

As it begins–

As it– as it be– as it– There’s no ttttt. That’s a stop T.

As it begins–

Let’s talk about the word ‘begin’. So the pronunciation has the IH as in sit vowel.

Be– be– begin– begin– But in sung English,

and sometimes in spoken English, you will hear people change this vowel a little bit.

She doesn’t say bih– begin, she says bee– begin.

Begins–

So she says more of an EE as in she vowel,

that’s not what you’ll see when you look
up this word in a dictionary.

Though it does happen, in sung and spoken English too.

But just so you know, if you’re speaking, you should probably try to go with the IH vowel.

Bih– bih– begin, begin.

What’s really the most important thing about this word is that the first syllable is very short,

and the second syllable is a longer, so that we have a sense of the stress.

Bih– bih– begin–

Begin–

begin–
My one condition is…

My one condition is…

So we have some stress on all of these words. One, my one condition is.

My one condition is…

Condition, three syllable word with middle syllable stress. So the first syllable is not

cone– or anything with more of a vowel. We see the letter O but it’s the schwa. Con– con– condition.

So just like this word ‘can’, which reduces to can, this syllable also reduces to: can, the same sounds.

Con– condition. Condition.

T in the TION here, makes the SH sound.

Condition.

Condition–

Condition is–
Say you’ll remember me–

Okay, the chorus. What’s… What are our most stressed syllables in this first phrase?

Say you’ll remember me–

Say– Say you’ll remember me–

The stressed syllables, the longer syllables, you will, you’ll, becomes you’ll, you’ll,

I would write that with the schwa, it’s reduced.

Say you’ll–

And again, this is a dark L.

You’ll, you’ll.

You do not want to lift your tongue tip for this.

You’ll, lalalala– If you lift your tongue tip, it’s probably going to interfere with the dark sound.

You’ll, you’ll, Say you’ll– Say you’ll remember me–

Say you’ll remember me–

Also note, it’s not remember, ree, ree, it’s rih, rih, with the IH as in sit vowel.

Rih– rih–remember– remember– EH as in bed vowel in the stressed syllable.

Remember, remember me–

Remember me–

Remember me–
Standing in a nice dress–

Standing in a nice dress–

Nice, the most stressed word there.

The ING ending is again, turned into an N ending, standin' not standing.

Standin' in a– standin' in a–

And and they all link together really smoothly. The letter A is just the schwa.

Standin' in a nice–

Standing in a nice dress–

Lots of Ns in this phrase.

Standing in a nice–

The vowel in ‘stand’ is AA as in bat, but when that’s followed by N like it is here, it changes, it’s not pure.

That would be stand, and that’s not how we say it, we say stand.

Uh uh. There’s more of an UH vowel in the middle because the back of the tongue relaxes

before the front of the tongue goes up for the N.

Sta– standin– standin' in a nice dress–

The letters CE here, the S sound, which goes right into the next sound, the consonant cluster.

Standing in a nice dress–

DR, now this can be pronounced JR.

Jr– jr– dress.

Instead of dd– dress, dress.

The JR sound is actually more common, and that’s what she does here. Nice dress. Nice dress.

Jjjj– instead of ddd—

Nice dress–

nice dress–
Starin' at the sunset, babe–

Starin' at the sunset–

Okay, again, the ING ending is turned into an IN ending.

Starin– starin–

Now, we have at. Is that pronounced with a full vowel? Or is the vowel reduced?

Starin' at the sunset, babe–

She does fully pronounce it. Starin' at– at the–

that is a stop T though because the next word begins with a consonant. Starin' at the sunset.

Starin' at the sunset.

Sunset is a compound word and in compound words, it’s the first word that’s stressed.

So in this case, Sun– sunset– Okay, we have another ending T here.

What do you think?
Are we gonna hear a tttt– released T?

Sunset.

Sunset. No, we did not hear a released T,
that was a stop T.

Sunset, babe.

So the next word begins with a consonant, also this, the rule is if the T is at the end of a thought group,

then it will also be a stop T. Now, an exception to this would be if it’s in a cluster like in the word ‘connect’.

Then in clusters, it’s often pronounced.

But when it’s not in a cluster, like here, and it’s at the end of a sentence, end of a thought group,

very common to make that a stop T,

sung English, and spoken English.

Sunset.

babe…
Red lips and rosy cheeks…

Red lips and rosy cheeks… Our descriptor words, are a little bit more stressed.

Red lips and rosy cheeks…

A little bit of length on ‘cheeks’ as well, the word ‘and’ reduced, D is dropped, and, and, and.

Red lips and rosy– and, and.

Red lips and rosy cheeks…

Red lips. So the D sound is not released. It’s not red lips. Red lips. But it’s red lips.

So the tongue goes up, the D sound is made with the vocal cords.

Red.

But then rather than releasing air, she just goes right into the next sound, the L consonant.

This is true of spoken English too, if the D is followed by a word that begins the consonant, it’s not red lips,

it’s not released like that.

Red lips, red lips. There’s just a really subtle D sound before the next word.

Red lips–

Red lips and rosy cheeks…

The letter s in Rosie is a Z sound.
Rosy cheeks. Zzzzz. Rosy cheeks.

Rosy cheeks.

Rosy cheeks.
Say you’ll see me again…

Say you’ll see me again…

Okay, now here’s the first time she does something that’s really different than spoken English.

So we have: Say you’ll see me again…
And that is not the way that we would stress that word.

She’s just doing that for effect in her song. It’s not a-gain, it’s again, it’s again, with second syllable stress.

The first syllable is just a very fast schwa in spoken English. Uh, uh, uh, again, again.

Say you’ll see me again…

And she even… She changes the vowel, she makes it more like: ah, ah, again, ah.

But in spoken English, it’s the schwa. Uh, uh, uh.

Again…

You’ll see me– you’ll see me–

Again, don’t need to lift the tongue tip here, this is a dark L, it’s not you’ll, it’s yuhl, yuhl, reduced.

You’ll, you’ll–

Say you’ll,

Say you’ll see me again even if it’s just in your—

Even if it’s just in your—

Even– stress there.

Even if it’s just in your—
And then held out, building up to the title of the song.

even if it’s just in your—

Even if it’s just–

So the stress here is the same as it would be in spoken English, stressed on the stressed vowel EE,

then we have three unstressed syllables in a row.

Even if it’s – even if it’s– even if it’s just in—

Now the T in ‘just’ is not dropped, it’s part of a cluster.

But the reason why it’s not dropped is because the next word begins with a vowel.

If the next word began with a consonant, like in the phrase: just my, just my, just my.

Then we drop that T because it comes between two consonants.

But in the word ‘just’ when the next word begins with a vowel or diphthong, you probably will hear that T.

Just in– ttt– Just in–

Even if it’s just in—

Even if it’s just in your–

And ‘your’ is not reduced.

Your– now, normally in spoken English, we wouldn’t stress that so much.

We would just go right into the next phrase, the next word.

‘Your’ is a function word, it’s not that important. Just in your wildest dreams.

Just in your– just in your– your– your– your– your wildest dreams.

But for the song, this word is building up to the next thing, it is not reduced, it is fully pronounced, it is longer.

Just in your wildest dreams…

Then we have the title of the song,

Wildest Dreams, and I love how the music matches the music of spoken English.

So the stressed syllable in wildest, is the first syllable and that one is so much longer, wildest dreams.

So the syllables are not of equal length, and this is true in spoken English as well.

And maybe we hear it even better in sung English

because the stressed syllables can be even longer like it is here.

Wildest dreams…

Wildest. Long-short. Wildest. The L here, also again a dark L because it comes after the vowel in the syllable.

So the vowel, in this case, a diphthong, the AI as in buy,

wil– uhl– that is the dark sound, that does not made the tongue tip up, that’s different.

That’s lll lalala, this is uhll– uhll– wildest.

So your tongue tip stays down until you need it to go up for the D.

Wildest–

wildest–

Now to sing the dark L sound, uhlll—

it’s not a sound to hold out, it’s not a particularly pretty sound when we isolate it,

so you wouldn’t say wildest, you wouldn’t hold that out, you would put it in at the very end,

you would put your length of the syllable in the diphthong or the vowel.

Wiiii– And I don’t even really hear much of the dark sound, she’s sort of skips out a little bit. Wildest.

Very subtle and quick at the end, but it’s certainly not wildest.

Wildest–

wildest–

Now what about the T in wildest?

Wildest dreams…

It’s part of an ending ST cluster. Now, up here with ‘just’,

we said when that cluster is followed by a word that begins the vowel or diphthong, you say the T.

If it’s followed by a word that begins with the consonant, or in this case, a consonant cluster, you drop the T.

And that’s exactly what she does. This is
true in spoken English too.

And again, remember the DR cluster can be JR. Dreams, dreams, rather than

dreams, ddddd, dreams, dreams, dreams,
dreams, dreams.

A light J sound, I think that’s what she does. I think it’s a little bit easier.

Wildest dreams.

Wildest dreams…

Then just a vowel expression, we hear that a lot in music.

Ahh, ooh, etc.

Aahh…
Wildest dreams…

And then again, on the repeat of wildest dreams,

T is dropped, words link together with the S, the JR cluster ‘dreams’ just like the first time.

Wildest dreams aahh…

Okay, so this is a pretty long video. We did the first verse and we did the chorus.

Just like when I do a scene from a movie, I don’t do the whole movie.

I don’t think I’m going to do the whole analysis here because that could end up being a two hour long video.

So we’ll stop here, but I want to challenge you, if you enjoy this, and you want to know the rest of the song,

you can do your own analysis.

Here’s what you should do. Download the
song, buy it somewhere,

open it in a program that allows you to look at the details of the song, like the volume.

I use Audacity for this, and this allows you to go to different places in the song, play them over and over…

Say you’ll remember me…

And that kind of thing.

When you listen to something on a loop like that, it helps you identify

what exactly is happening and it helps you focus in on the details.

And then you can write your own Ben Franklin analysis of what you hear happening.

The stress, put your curve up and down for the stress, dropped sounds, reductions.

Pay attention, write them down. You know a lot.
You can do this.

Here’s an idea. If you do one, take a picture of one of your pages of your analysis,

post it to Instagram, and use #rachelenglish so I can check it out.

Now the important question:

what song would you like to be the next analysis song?

Put it in the comments. Below but if someone has already put your song, then just like that comment.

The one with the most likes lets me most easily see the most popular request.

Working on this video is making me think about the melody of English.

How we speak but it’s almost like a song,

and it’s reminding me of a video I made a long time ago where I talked about the shape, the vocal shape,

the melody of a stressed syllable.

I want to make sure you see that if you haven’t already, so you can click on it right here.

Also, please subscribe with notifications
if you haven’t already.

I make a new video every Tuesday, and I’d love to have you join me every week.

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

这首歌在接下来学习英语的歌曲中获得了最多的选票。

泰勒斯威夫特，最疯狂的梦想。

下一首你想看什么歌？把它放在下面的评论中。

但如果这首歌已经存在，就像那个评论一样。

好吧，让我们开始吧。

他说，“让我们离开这个小镇吧”

所以她在这里放了一点刹车。因此，我们将其称为两个独立的思想组。

那么在这第一个三词思维组中，哪个词的重音最大？

他说，“让我们”

他说，“让我们” 让我们——

有更多的压力，更多的音量，上下的形状。哒哒哒。它更长。

所以这和英语口语是一样的。
他说，“让我们”—— 他说，“让我们”

—— 三个字流畅地连接在一起，没有中断

，声音正好从那句话中流过。

他说，“让我们”

他说，“让我们离开这个小镇……”

现在我们在短语中有两个 T，在单词中，get 和单词 out。她发音不同。

所以一个 T 通常是一个拍音 T，听起来
有点像美国的

D。Outta，outta，outta，如果它出现在两个元音或双元音之间，那么它们都是。

滚出去——滚出去——达达达——

所以在英语口语中，把这两个都做成襟翼T是很常见的，

但她没有第一个这样做。第一个，她做了一个停止T，第二个T是一个襟翼T，

平滑地连接它们。滚出——“of”这个词被减少了，它只是 schwa。

出——出——

出——

现在，“得到”这个词发音了，怎么读？

滚出去——

滚，滚，滚，滚，滚。

那是一个停止T。你可能会想：我没有听到一个T。听起来像这样：get，但是一个停止T：get，get，

与没有T完全不同。

根本没有 T 听起来是这样的：geh，geh，声音会降低音调，会更长一点

，停止 T 是一个突然停止，这就是 T 的含义。Get，get，get .

我们听不到 T 音，但是因为有一个突然的停止，我们作为母语人士的头脑，听到它是 T 音

。Get，get，out of，get out。

所以她通过停止 T 在那里休息，然后她重新附加

了 OW 双元音上的短语，而
不是与一个襟翼 T 连接。

滚出——

滚出这个城镇。

离开这个小镇。然后其余的单词非常顺利地连接在一起。

离开这个小镇。那里最重的两个词。他们更长，他们有压力。

离开这个小镇。

所以’of’和’this'，of this-of this-of this-音调较低，有一种无重音的感觉。

离开这个小镇。

“town”这个词有OW双元音
和N辅音。

我注意到这种组合对于非母语人士来说可能会很棘手，尤其是我来自中国的学生

往往会说城镇。

他们将元音鼻音化，不发N，但这不是我们在美式英语中所做的。

Tow– ow– OW 双元音根本没有鼻化，然后舌头出现在 N.

Town。镇。镇。

所以确保你的舌头接触到上颚，舌尖确实抬起，那是N。

如果你觉得你的舌尖没有抬起，那么你可能在这里鼻化了元音或双元音。

镇，镇。我们不希望这样。镇。镇。嗯嗯。以N辅音结尾。

镇。

镇。驱车出城。

在下一个短语中，您听到的最重音是什么？

驱车出城。

驾驶。

驱车出城。

drive和“ci”是city的重读音节，重读
最多。

哒哒哒哒哒哒。它们更长。

长短的节奏对比在歌唱中很重要，在英语口语中也很重要。

所有这些词连接在一起真的很顺畅，没有中断，开车出

城——dduuuhhhh——顺利连接，V音正好变成’out’的OW双元音。

那又是一个襟翼T。

出，出，出，出，出，出。

施瓦元音直接链接到“the”这个词。的，的。出的，出的。

驱车出城。

城市。

这个T是怎么回事？这是一个襟翼T，不是吗？城市。哒哒哒哒哒。

舌头拍打着上颚，那是因为它位于两个元音之间：city。

城市。

城市。远离人群。

远离人群。

唱法的压力与口语的压力完全一样。

离开。从人群中对“方式”施加压力，对“人群”施加压力。远离人群。远离人群。

所以’away’的第一个音节，我们看到字母A，但它只是schwa。

呃，呃，呃。

离开。远离——它们的发音不是那么清楚，是吗？

远离人群。

From the- from the- from the-

她减少了元音，我们也会在口语中这样做。

这是 schwa：从，从，从，从，从。

这句话中的所有这些词都
非常流畅地连接在一起。

来自——

来自人群。
我以为天堂现在帮不了我了。

我想
天堂——“想”有点长，我想——

但随后更多的压力，更大的声音，天堂现在无法帮助我，在这三个音节中。

我以为天堂现在帮不了我了。

“思想”中的 T 呢？听说放出来了？

Tttt..

我想——

不。没有释放。它是一个停止

T。我想——我想——

我想——

当下一个单词像这里一样以辅音开头时，A T 是一个停止 T。

有时，开头的 H 会被静音，就像在“小时”这个词中一样。

但在’天堂’这个词中，它并不是沉默的。我们确实说H，那是一个辅音。

所以之前的T是一个停止T。

我以为天堂–我以为天堂–我以为天堂–我以为天堂现在帮不了我了。

‘can’t’中的T呢？你听到 tttt，一个释放的 T 吗？

不能帮助我–

不。T 并不经常发布，实际上，一个真正的T，它并不那么常见。

在 N 个撇号 T 收缩中，T 有几种不同的发音方式。

有时，它完全掉下来了，有时，它是一个停止，它是一个停止在这里。

不能帮助-不能帮助-不能帮助-

不是：不能帮助-也不是：不能帮助-但它是：不能帮助–

小小的电梯那里的声音。那一站对美国人来说意味着T。

忍不住——

她在两个h上用了更多的气息，如果我们夸大第一个音，

一个单词的第一个辅音，会带来更多的压力，更多的戏剧性，

天堂，救命–

天堂不能帮助–天堂不能帮助–天堂现在不能帮助我。

现在帮帮我。

帮助。

那个P会怎么样？帮助。对？它被释放了。帮助。但就像 T 一样，P 也是一个停止辅音。

于是双唇合拢。他们关闭。这切断了空气。帮助。然后它们打开，一些空气逸出。

这就是所谓的释放。

但是，在美式英语中，下一个单词以辅音开头的情况很常见，

就像在这里跳过释放一样。

所以你会为P闭上你的嘴唇，帮助我，

但是当你打开它们时，你会直接进入下一个单词，而不是先释放那个空气。

所以她也把它变成了一个停止辅音。

“帮助”一词中的 L 是一个暗 L，因为它位于该音节中的元音之后。

帮助。帮助。

你实际上不需要为此抬起你的舌尖。

你可能已经知道，要制作 L，你必须抬起你的舌尖。

呃。但这仅适用于浅色 L。

对于深色 L，我们通常不会抬起舌尖。

事实上，如果你这样做，它会使它在嘴里听起来太靠前，而且听起来不太对劲。

救命啊救命啊救命啊

我们不希望那样。我们希望得到帮助。

为了发出那种 uhl，黑暗的 L 声音，我们不会抬起舌尖。

我们会让舌尖向下，然后用舌头的后部，向下和向后一点。

呃。

呼——救命。帮我。现在帮帮我。

现在帮帮我。

现在帮帮我。
没有什么可以天长地久。

我们真的在这方面学到了很多关于
辅音的知识，不是吗？

她唱它们的方式也和我们用英语口语唱它们的方式一模一样。

让我们看下一个短语。因为再一次，一些结尾辅音正在发生一些有趣的事情。

没有什么可以天长地久。

没有什么可以天长地久。
所以首先，我们强调更多的音量

，更多的长度。

没有什么可以天长地久。

“永远”的中间音节是重读。

说一下NG的结局吧。没有什么。
你听到什么？

没什么——

所以有点不同。 NG 音变为 N 音。没什么。没什么。

使用 ING 结尾词是很常见的，尤其是在唱的英语中。

您不想一直这样做并说英语，因为那样它会开始听起来

有点像地方口音，但肯定的是，每个人都会用美式英语来做。

没有——没有——没有什么是永恒的。

没有什么可以天长地久。

持续。

STS 集群，然后在它旁边有一个 F。所以我们连续有四个辅音。她怎么发音？

没有什么可以天长地久。

好吧，绝对不是：永远持续，永远持续。

我认为她正在做的是放弃这两个。我认为你可以摆脱它。永远持续下去。

没有什么可以天长地久。

每个人都会知道你说过“持续”，即使你没有这么说。

这就是我们有时会缩短单词的方式。

在其他两个辅音之间删除像 T 这样的辅音并不少见

，这里我们在 S 和 F 之间有 T 和 S，很自然地将它们删除并将其连接到下一个单词中。

永远持续下去。没有什么可以天长地久。

自然和口语的英语，以及唱的英语。

没有什么可以天长地久。

‘forever’这个词你看到字母O，
你可能想说’for’，

但这不是它的
发音方式：fer-forever，forever。

所以我会用 schwa 来写：for– eh– 然后是重读音节。

所以那个音节没有重读，它不是：因为，它的：毛皮，毛皮，永远——永远——

永远。

永远。
但这会让我失望。

但这会让我失望。
好的，对“采取”有很大的压力，

有更多的上下形状，更高的音高，对“这个”有一些压力，但是：这个——更大的音量，更大的强度。

带我下来。

但这会让我失望。

让我们看看“但是”中的 T，这里会发生什么？

但是这个——

但是这个——但是这个——但是这个——不是但是。

但是，但是，但是，但是。

说得很快，这是一个不重读的词，

我会用停顿 T 来写。但是，但是，但是，但是，

但是，这会——

但是这会——

但是这是

要去——当然，“要去”是“去”的缩写，所有这些词都非常流畅地连接在一起。

这会让我失望。

没有休息。

在美式英语中，事物之间的联系非常顺畅。

现在，我们有了“down”这个词，就像“town”一样。

它是 OW 双元音和 N 辅音。

我知道我的很多学生会说这样的话：下来，用鼻化的双元音，我们不想要那个。

陶氏——完全没有鼻音。道——然后是N音。道–nnn– 道–nnn– 向下。向下。

向下。

向下。他长得又高又帅。
现在，让我们只听几个字：Down。

他是如此——

下来。他是如此——

你注意到’he’s’中没有H吗？

向下。 He’s so- He’s so- He’s so- 只是 EE 元音。

这是一个相当普遍的减少。我们将 H 放在其中一些非常常见的虚词中，例如他、他的、他/她

。

所以她掉到了那里的H。这也发生在英语口语中。

向下。他是如此——

下来。他是如此——

下来。 He’s so–

‘he’s’ 中的撇号 S 是轻的周 Z 音，但当它连接到更强的 S 时

，S 往往会取代那个 Z。

所以你可以认为 Z 实际上不是那里。是 EE 元音，然后是 S。He’s so– He’s so– 他很高。

他那么高。

高。高节奏。这个词是重音。他太——他太高了。

他那么高。

高。

也在这里，地狱和好吧，这些都是黑暗的L。

它们都在词尾。

你不需要为此抬起你的舌尖。高，见鬼，好吧。呃，呃，呃。

那个结尾的声音，那个阴暗的声音不需要抬起舌头。呃。

而且，如果您确实抬起舌头，则有可能会弄乱黑暗的声音。

他那么高。

他长得又高又帅。

而且——这个词被减少了。 Nnnn——你可以写那个 schwa N，没有 D 音。

而且很帅。而且很帅。

而且很帅。

英俊中的D呢？不在那里。英俊。英俊。

而且帅得要死。

地狱，在那个 H 中有一点额外的气息，只是为了给这个词带来更多的压力和戏剧性。

而且帅得要死。单词’as’，不带AH元音发音。那是减少了。 “如”变成：如，如。

您可以将其视为 schwa，或将 IH 视为坐元音。英俊到——英俊到——英俊到地狱。

帅得要死。

帅得要死。他很糟糕，但他做得很好。

在这里，我第二次听到 he’s 上的 H 时，

他是如此——再次，没有 Z 音，只是与 S 音相连。他是如此——他是如此——他是如此——他是如此糟糕。

他太坏了。

他很糟糕，但他做得很好。

不好，有点压力。

那里有更多的气息，更高的音调，更长的时间。

他很糟糕，但他做到了——“但他做到了”变成了：但他——但他——什么？这太奇怪了！

听起来像 BUDDY，伙计

，那是因为她在“he”中去掉了 H，所以我们有一个结尾的 EE 元音

，现在，T 出现在两个元音之间，所以这是一个拍音

T。但是他——但是他——但是他 ——

但他——但他——但他做得很好。

这也是非常自然的英语口语。

但他——但他做得很好。

对“做”有一些压力，对“好”也有很多压力。她用那里的音符做了一些有趣的事情，

那是一个重音词。

但他做得很好。

所有的链接都非常顺利，以“does”结尾的 Z 音直接连接到 IH 元音。

它——它——现在，这个T呢？

是这样–

是–

是– 是–

你听到tttt 了吗？

它不在那里。它是一个停止T，是这样–是这样–

那是因为下一个单词以辅音开头，即S音。

做得这么好。

做得这么好。
我可以在开始时看到结尾——

我可以在开始时看到结尾——

从音调、歌曲的音高、旋律到那里的重音非常清楚。

我可以看到它开始时的结束。

‘开始’，双音节单词，第二个音节重音。

我可以看到–

现在，‘the’ 中的元音发音为’the' 而不是’the'，因为下一个单词以元音开头。

所以规则是：如果下一个单词以元音或双元音开头，则将其设为“the”。

如果下一种以辅音开头，则将其设为“the”。

我能看到结局——

我能看到结局——我能看到——我能，我能，我能。

就像英语口语一样，很好的“可以”减少。
可以，可以，可以。

当它是一个帮助动词而不是主要动词时，主要动词是’see'。

然后它会减少。不可以，可以，我能看到，我能看到结局。

我可以看到结尾——

我可以看到结尾，因为它开始了。

现在，在这里，“as it”，她没有减少元音。

它是蝙蝠元音中的 AA，和 Z 音。 Z 音直接连接到下一个元音 IH。作为它——作为它——

你认为这个T会发生什么？下一个单词以辅音开头。

当它开始时——

当它开始时

—— 就像它—— 就像它一样—— 就像它—— 没有ttttt。那是一个停止

T。当它开始时——

当它开始时——

让我们谈谈“开始”这个词。所以发音有 IH 作为坐元音。

Be–be– begin– begin– 但是在唱的英语中

，有时在口语中，你会听到人们稍微改变这个元音。

她没有说 bih–开始，她说 bee–开始。

Begins——

所以她在元音中说的更多的是 EE，

这不是你
在字典中查找这个词时会看到的。

虽然它确实发生了，但在唱歌和口语中也是如此。

但是你知道，如果你在说话，你可能应该尝试使用 IH 元音。

Bih——bih——开始，开始。

这个词真正最重要的是第一个音节很短

，第二个音节较长，所以我们有重音的感觉。

Bih– bih– begin–

Begin–

begin–
我的一个条件是…

我的一个条件是…

所以我们对所有这些词都有一些压力。一，我的一个条件是。

我的一条件是……

条件，三音节词，中间重音。所以第一个音节不是

锥体——或者任何有更多元音的音节。我们看到字母 O，但它是 schwa。康——康——条件。

所以就像这个单词’can'，它还原为can，这个音节也还原为：can，同样的发音。

条件。状况。

这里 TION 中的 T 发出 SH 音。

状况。

条件

条件 - 条件是 -
假设你会记得我 -

好的，合唱。什么是… 第一个短语中我们最重读的音节是什么？

说你会记得我——

说你会记得我——说你会记得我——

说——

说你会记得我

——重读的音节，更长的音节，你会，你会，变成你会的，你会的，

我会用 schwa 写，它减少了。

说你会——说你会——

说你会——

再说一次，这是一个黑暗的L。

你会，你会。

你不想为此抬起你的舌尖。

你会的，拉拉拉拉——如果你抬起你的舌尖，它可能会干扰黑暗的声音。

你会，你会，说你会——

说你会记得我——

说你会记得我——说你会记得我——

还要注意，它是不记得了，ree，ree，是rih，rih，跟IH一样是sit元音。

Rih–rih–remember-remember– EH 在重读音节中作为床元音。

记住，记住我——

记住我——

记住我——
穿着

漂亮的衣服站着——穿着

漂亮的衣服站着——穿着漂亮的衣服站着——

很好，这是最重的词。

ING结尾又来了，变成了N结尾，站着不站着。

Standin' in a-standin' in a-

而且他们都非常顺利地连接在一起。字母 A 只是 schwa。

Standin' in a nice– 穿着

漂亮的衣服– 穿着

漂亮的衣服– 这句话里有很多N。

Stand in a nice——

Standing in a nice——

Standing in a nice

——“stand”中的元音是 AA 和 bat 中一样，但是当后面跟着 N 时，就像这里一样，它会改变，它不纯。

那就是立场，我们不是这样说的，我们说立场。

呃呃。中间有更多的 UH 元音，因为舌头的后部在

舌头前部上升为 N 之前放松了。

Sta-standin-standin' in a nice dress–

这里的字母 CE，S 音，它直接进入下一个声音，辅音簇。

穿着

漂亮的衣服站立——穿着漂亮的衣服站立——穿着漂亮的衣服

站立

——DR，现在可以发音为JR。

Jr——jr——连衣裙。

而不是 dd——dress，dress。

JR 的声音实际上更常见，这就是她在这里所做的。漂亮的连衣裙。漂亮的连衣裙。

Jjjj– 而不是

ddd– 漂亮的衣服– 漂亮的衣服-
凝视着日落，宝贝- 凝视着日落–

好吧，再次，ING 结尾变成了 IN 结尾。

斯塔林–斯塔林–

现在，我们在。用全元音发音吗？还是元音变小了？

凝视着日落，宝贝——

凝视着日落，贝贝——

她确实完全发音了。 Starin' at- at the-

这是一个停止 T，因为下一个单词以辅音开头。凝视着夕阳。

凝视着夕阳。

Sunset是一个复合词，在复合词中，它是第一个被重读的词。

所以在这种情况下，Sun–sunset– 好的，我们这里有另一个结尾 T。

你怎么认为？
我们会听到 tttt– 发布的 T 吗？

日落。

日落。不，我们没有听到释放的 T，
那是停止 T。

日落，宝贝。

所以下一个词以辅音开头，也是这个，规则是如果 T 在一个思想组的末尾，

那么它也将是一个停止 T。现在，一个例外是如果它在一个集群中在“连接”这个词中。

然后在集群中，它经常被发音。

但是当它不在一个集群中时，就像这里一样，它在一个句子的结尾，一个思想组的结尾，

把它变成一个停顿 T、

唱英语和口语是很常见的。

日落。

宝贝
……红唇和红润的脸颊……红润的

嘴唇和红润的脸颊……我们的形容词，有点压力。

红红的嘴唇和红润的脸颊

……‘脸颊’也有点长，‘and’这个词减少了，D被删除了，and，and，and。

红红的嘴唇和红润——和，和。

红唇和红润的脸颊…

红唇。所以 D 音没有被释放。不是红唇。红唇。不过是红唇。

所以舌头上扬，声带发出D音。

红色的。

但随后她并没有释放空气，而是直接进入下一个声音，L辅音。

英语口语也是如此，如果D后面跟着一个以辅音开头的单词，那不是红唇，

不是那样释放的。

红唇，红唇。在下一个单词之前只有一个非常微妙的 D 音。

红唇——红唇和红润的脸颊……

Rosie 中的字母 s 是 Z 音。
红扑扑的脸。兹兹兹。红扑扑的脸。

红扑扑的脸。

红扑扑的脸。
说你会再见到我……

说你会再见到我……

好吧，现在这是她第一次做与英语口语完全不同的事情。

所以我们有：假设你会再次见到我
……这不是我们强调这个词的方式。

她这样做只是为了在她的歌曲中产生效果。这不是a-gain，它又是，又是，带有第二个音节重音。

第一个音节只是英语口语中非常快的 schwa。呃，呃，呃，又是，又是。

说你会再次见到我……

说你会再次见到我

……她甚至……她改变了元音，她让它更像：啊，啊，再次，啊。

但在口语中，它是 schwa。呃，呃，呃。

再一次……

你会看到我——你会看到我——

再一次，这里不需要抬起舌尖，这是一个黑暗的L，不是你会，它是yuhl，yuhl，减少了。

你会，

你会——说你会，

说你会再见到我，即使它只是在你的——

即使它只是在你的——甚至——

那里有压力。

即使它只是在你的
——然后坚持下去，建立歌曲的标题。

即使它只是在你的——

即使它只是在你的——即使它只是——

所以这里的重音和口语一样，强调在重读元音EE，

那么我们连续三个非重读音节。

即使它是——即使它是——即使它只是在——

现在’just’ 中的 T 没有被删除，它是一个集群的一部分。

但是它没有被删除的原因是因为下一个单词以元音开头。

如果下一个单词以辅音开头，就像在短语中一样：just my, just my, just my。

然后我们去掉那个 T，因为它位于两个辅音之间。

但是在“just”这个词中，当下一个单词以元音或双元音开头时，你可能会听到 T.

Just in– ttt– Just in–

即使它只是在–

即使它只是– ——

即使它只是在你的——

而且“你的”并没有减少。

你——现在，通常用英语口语，我们不会那么强调。

我们将直接进入下一个短语，下一个单词。

“你的”是虚词，没那么重要。就在你最疯狂的梦里。

就在你的——就在你的——你的——你的——你最疯狂的梦想中。

但是对于这首歌来说，这个词正在构建到下一个东西，它没有减少，它是完全发音的，它更长。

就在你最疯狂的梦想中……

然后我们有了歌曲的标题，

最疯狂的梦想，我喜欢音乐与英语口语音乐的匹配。

因此，最狂野的重读音节是第一个音节，而那个音节要长得多，是最狂野的梦想。

所以音节的长度不相等，在英语口语中也是如此。

也许我们在歌唱英语中听得更好，

因为重读音节可以像这里一样更长。

最疯狂的梦想……

最疯狂的梦想……最疯狂的

梦想……最疯狂的

梦想。长短。最狂野的。这里的 L 也是一个暗 L，因为它出现在音节中的元音之后。

所以元音，在这种情况下，是双元音，AI 就像买一样，

会——呃——那是黑暗的声音，不会让舌头翘起来，那是不同的。

这是 lll lalala，这是 uhll - uhll - 最疯狂的。

所以你的舌尖一直向下，直到你需要它来升起 D. Wildest–

wildest–

现在唱黑暗的 L 音，uhlll–

这不是一个可以坚持的声音，这不是一个特别的当我们将它隔离时非常好，

所以你不会说最狂野，你不会坚持下去，你会把它放在最后，

你会把你的音节长度放在双元音或元音中。

Wiiii——而且我什至没有真正听到太多黑暗的声音，她有点跳出来了。最狂野的。

最后非常微妙和快速，但它肯定不是最疯狂的。

最狂野——最狂野——最狂野——现在最狂野的T呢？

最狂野的梦想……

它是结束 ST 集群的一部分。现在，在这里用“just”，

我们说当该簇后面跟着一个以元音或双元音开头的单词时，你说 T。

如果它后面跟着一个以辅音开头的单词，或者在这种情况下是辅音集群，你放弃了

T。这正是她所做的。这
在英语口语中也是如此。

再次记住，DR 集群可以是 JR。梦想，梦想，而不是

梦想，ddddd，梦想，梦想，梦想，
梦想，梦想。

一个轻 J 的声音，我想这就是她所做的。我认为这更容易一些。

最疯狂的梦想。

最狂野的梦想……

然后只是一个元音表达，我们在音乐中听到了很多。

啊，哦，等

啊……
最疯狂的梦想

……然后再次，在最疯狂的梦想中，

t被掉落，单词与s一起链接，JR集群“梦想”就像第一次一样。

最疯狂的梦想啊……

最疯狂的梦想啊啊……

好吧，这是一个很长的视频。我们做了第一节，我们做了合唱。

就像我拍电影中的一个场景一样，我不会拍整部电影。

我不认为我会在这里进行整个分析，因为这最终可能是一个两小时长的视频。

所以我们就到此为止，但我想挑战你，如果你喜欢这个，你想知道这首歌的其余部分，

你可以自己分析。

这是你应该做的。下载
歌曲，在某处购买，

在程序中打开它，您可以查看歌曲的详细信息，例如音量。

我为此使用了 Audacity，这可以让你在歌曲中转到不同的地方，一遍又一遍地播放它们……

说你会记得我……

还有那种事情 .

当您在这样的循环中收听某些内容时，它可以帮助您确定

到底发生了什么，并帮助您专注于细节。

然后你可以写你自己的本富兰克林分析你听到的事情。

压力，让你的曲线上下压力，降低声音，减少。

注意，把它们写下来。你知道很多。
你可以这样做。

这是一个想法。如果您这样做，请为您的分析页面拍一张照片，

将其发布到 Instagram，然后使用#rachelenglish，以便我查看。

现在重要的问题是：

你希望哪首歌成为下一个分析歌曲？

把它放在评论中。下面，但如果有人已经放了你的歌，那么就像那个评论一样。

点赞最多的让我最容易看到最受欢迎的请求。

制作这个视频让我想起了英语的旋律。

我们说话的方式，但它几乎就像一首歌

，它让我想起了我很久以前制作的一个视频，在那里我谈到了形状，人声形状，

重读音节的旋律。

如果你还没有看到，我想确保你看到它，所以你可以在这里点击它。

另外，如果您还没有订阅通知，请订阅
。

我每周二都会制作一个新视频，我希望你每周都加入我的行列。

就是这样，非常感谢您使用
Rachel 的英语。