Learn American Rhythm With Reese Witherspoon (Speech Analysis + PDF)

140,314 views ・ 2018-08-08

Accent's Way English with Hadar


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Hey guys, It's Hadar and this is the
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Accent's Way.
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and today we're going to talk about
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American rhythm.
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We already said that American rhythm
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is derived from the
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content which means
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words that are stressed are usually
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longer and higher in pitch.
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For example, content words like
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verbs, nouns, adjectives
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and adverbs in comparison
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to words that are less stressed,
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that are shorter and lower in
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pitch and softer.
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And these are function words like
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'on, in, at, could, would, should, am, as, are, for, of, this, a.
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Now if in your language you
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have a specific stress pattern
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meaning maybe you stress every other
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word or maybe you only stress things
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at the beginning and drop at the end.
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This is a challenge for you and
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this is why you need to change
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your mindset and start
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recognizing the words that you want
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to stress and these are the words
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that you want to go for.
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And by 'go for' I mean prolong the
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main vowel in them and
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raise the pitch for them.
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And to demonstrate this idea of
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American intonation and rhythm even
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further I chose to
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analyze with you this wonderful
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speech by Reese Witherspoon.
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Let's take a look.
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What we do now.
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Seriously I'm not kidding.
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Go back and watch any movie and you
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will see this.
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What do we do now?
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Here she's talking about the fact
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that almost in every movie there
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is a point where the woman turns to
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the man asking "What do we do now?" Okay,
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so let's analyze this question for a sec.
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"What do we do now".
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The two words that stick out the
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most are 'what' and 'now'.
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and then we also have 'do'
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What do we do now?
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What do we do now?
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So we have 'what' that is really high in pitch.
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Notice that she's not pushing her
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voice to say the 'what' and
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the 'now' she just goes high in pitch.
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"What do we do now"? Right.
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Now of course she's exaggerating and
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I'm not expecting it to go this high in pitch.
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'What do we do now" but just try to
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get the essence of
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the way she stresses things.
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"What do we do now?" So
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wuh duh we do, duh we, duh we. It's not 'what do we'.
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The 'we' is not reduced but she's
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saying it really-really quickly.
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"What do we do".
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Right. She's not going higher in
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pitch but it's longer TA-da-da-da
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TA, TA-da-da-da TA.
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It's not.
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"What do we do now".
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ta-ta-ta-ta
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"What do we do NOW?".
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So if you don't want exaggerated so
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much you can just ask: "What do we
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do NOW?"
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'What do we do NOW?"
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Ta-da-da-da TA.
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'What do we do NOW?" right
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'Now' is really long,'what' is kind
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of long, 'do' is right there in the middle: TA-da-da-da-TA.
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But the 'do we' is short and somewhat reduced.
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Wuh duh we do now.
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Let's look at the next sentence.
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What do we do now?
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Seriously I'm not kidding. Go back and watch any movie and you will see.
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Seriously I'm not kidding.
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Go back and watch any movie.
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Seriously.
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Not kidding.
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Any movie.
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These are the stressed words.
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Seriously.
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Not kidding.
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Any movie.
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Seriously I'm not kidding.
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Go back and watch any movie.
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So she really slows down hitting those stressed words.
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This is not to speechy.
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That's how people actually speak.
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Right. It's a common that she's
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adding It's not planned I think. Right.
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Seriously I'm not kidding.
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'Seriously' that's higher in pitch.
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The SE- which is the primary stress is longer than the rest of the syllables: TA-da-da-da.
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And 'I'm not kidding' both the 'not' and the 'kidding' are stressed.
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'Kidding' is a little more stress than 'not'. So it's going to be a little higher in pitch.
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"Seriously I'm not kidding".
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Go back and watch, go back and
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watch, go back and watch.
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Go back.
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Watch.
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These are three content words
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but they're not as stressed.
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They're not reduced.
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So we don't reduce the vowel there
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to a shwa but they're said quickly and softly
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and with very little effort.
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Go back and watch any
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movie. Right.
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Slow-slow.
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"Go back and watch any movie."
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I'm not pushing it.
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I'm not stressing it.
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I'm not necessarily saying it a lot louder, it's just slower.
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"Go back and watch any movie." and
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it's the distinction between the fast past and the slow part.
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That makes it different, that helps it stick out.
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So it's not just about saying it
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slowly or strongly
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or higher in pitch it's also about
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what I did just before which is
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I'kinda like reduced it or she did.
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and watch any movie and you will see this line over and over again. You're going to see it now.
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And you see THIS LINE over and over again
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And you will see THIS LINE over and over again,
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And you will see this line
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So first of all listen to the melody. Every syllable has a different note.
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"And you will see this line", "and you will".. She didn't reduce it to y'll.
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"And you will see this line".
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But it's said quickly and effortlessly.
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"And you will see this line".
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'Line' is longer.
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"Over and over again".
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Right? "Again" is reduced.
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"Over and over again" because it's
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not about the repetition.
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It's about how it happens
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every single time.
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This is why she chooses to stress
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"over and over", "over
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and over again"
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and you will see this line over and
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over again.
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If you're going to see it now.
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You're going to see it now.
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You're going to see it now.
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Now she's not saying "you're going
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to see it now".
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You're gonna, you're gonna.
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She's not just reducing it she's
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going higher in pitch but in this
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case that doesn't mean that it's stress.
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This is a common pattern where a
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sentence starts with higher notes.
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"You're gonna see it now" but "see" is the word that sticks out that is longer.
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TA-ta-ra-ta, TA-ta-ta-ta-ta.
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You're going to see it now.
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You're going to see it now.
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See it, at, at.
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It's reduced right.
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It's not. See it.
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See it.
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You're going to see it.
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Now you're gonna see it now.
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I'm always playing with my head
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voice and my chest voice.
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I'm going up.
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I'm not pushing my voice.
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You're gonna see it now, right?
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I'm not using more energy to stress.
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I'm just raising my pitch slightly.
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And if you're not comfortable with
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going really high in pitch because
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you get really high pitch when you
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really wanna stress something
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you know a little lower in pitch.
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Or you can just prolong the word.
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You're going to see it now.
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You're going to see it now and
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that's also OK.
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But it is different then "You are going to see it now."
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"You are going to see it now" or
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"you're going to see it now".
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Right?
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You're going to see it now.
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That's the rhythm.
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That's the melody.
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And that's the feel of American English.
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Let's skip to the end of the speech.
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Ladies and gentlemen, I think we are in a cultural crisis.
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Ladies and gentlemen I think we are in a cultural crisis.
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Now again look at this constant distinction between the fast and the slow the reduced and the stress.
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Ladies and gentlemen, right.
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That's not that important.
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Obviously she's talking to the
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ladies and the gentleman in the audience.
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Ladies and gentlemen I think we are.
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"I think we are". "Think" is stress it's a little longer.
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"I" is a bit more reduced.
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"I think we are in a cultural crisis".
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Right.
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So she slows down on the two words "cultural crisis".
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I think we are in a cultural crisis, right.
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When you really want to stress your
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point slow down towards the end of the point and then prolong the words that you are stressing.
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I think we are.
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"Think" is also stressed.
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Ta-Ta-ra-TA. Ta-TA-ra-Ta-ta-ra-ta-ta.
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So the words are prolonged but also the pace slows down towards the end.
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Ladies and gentlemen I think we are in-a cultural crisis.
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In every field, and every industry.
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In every field.
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In every industry.
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Now notice the word "in" turns into a shwa.
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She is reducing it. In and in every field.
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So "in" is reduced, "every" is a little longer.
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And "field" that's a stressed word.
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This word is higher in pitch and longer. In every field, in every industry.
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In every field.
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She places it here.
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In every industry.
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So "industry" is a little higher in pitch it's a little longer because she's starting to build up her argument.
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In every field, in every industry.
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And again she slows down to get our point across to indicate that it's an important part.
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Like I just did now.
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It's an important part you slow down when you reach the important part.
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Women are underrepresented and underpaid in leadership positions.
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Women are underrepresented and underpaid in leadership positions.
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So a lot of words are stressed here:
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women, underrepresented,
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underpaid, leadership positions.
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Right.
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This is an important sentence, so more words are naturally going to be stressed.
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But here I really want you to see how they come across
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in comparison to the function words that barely get noticed.
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Women are underrepresented.
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Ah. Ah.
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Ah.
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Women are, women are
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it's not. Women are under represented.
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Women are underrepresented.
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Underrepresented.
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And even in the word underrepresented, there is a distinction between the more
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important and the less important.
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"Under " is less important. Underrepresented.
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And then the "Z" is the primary source so it's going to be higher in pitch and longer than the rest.
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Women are underrepresented an underpaid and then "in leadership positions".
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So "in" is really really short and reduced. It feels like it's part of the word leadership.
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Leadership.
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In-leadership, in-leadership.
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So you go from the end to the L you connect them in-leadership positions.
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Notice there is no "o" in the word positions.
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In leadership positions.
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And the reason we're all talking about it tonight.
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And the reason we're all talking about it tonight.
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Ta-ta-Ta-ra-ta-Ta-ta, right.
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And the reason, "reason" is higher in pitch and longer.
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And the reason w-r-all, w-r-all. It's not "we are all'.
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"We are" turns into "w-r". And it's low in pitch and soft and quick.
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'W'r-all' and then we connected to "all".
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So eventually what you get is "w'r-all", w'r-all, w'r-all.
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It's not even "we".
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It's like 'w-r'all", right.
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Whoa-raul.
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And the reason we're all talking about it tonight.
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Talking about it tonight.
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The "talking" is important.
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So that's gonna be the peak
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in terms of the pitch.
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Talking about it tonight.
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Ta-ra-ta-TA.
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So "talking" and "tonight" are
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important, "about it" is less
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important. So it's gonna be fast and
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short and kind of reduced.
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Talking about it tonight, talking
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about it. it-it.
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It's not "talking about it".
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Talking about it tonight.
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Under 5 percent of CEOs of Fortune 500 companies are women.
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Under 5 percent
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of CEOs of Fortune 500 companies are women.
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So there are the stressed words,
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there are the reduced words.
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Third, the stressed words and among them there
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are words that are more stressed and less stressed.
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So let's look into it.
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"Under five percent" that's stressed because it's slower and higher in pitch.
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11:54
Under 5 percent of CEOs.
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That's also stressed but "of" is reduced.
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12:00
Under, that's also reduced.
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Under five percent of CEOs.
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Ta-TA Ta
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12:05
-ta- ta- ta-ra TA.
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12:07
Notice that in the word CEOs the
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12:09
stress falls on the last letter ceO,
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ceO.
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12:14
Under five percent of CEOs
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12:16
of Fortune 500 companies, right.
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12:19
These are all content words but
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12:20
they're less important, right.
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12:23
So here there are no reductions but
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you need to practice saying it quickly.
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12:28
Fortune 500 companies,
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12:30
and again connected speech is
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12:31
important because it feels like it's one big word.
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12:34
Fortune five hundred companies,
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fortune-five-hundred-companies.
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The secret to getting it right is to really soften your consonants.
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12:47
Say your consonants really softly,
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12:49
don't push every consonant
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"Fortune five hundred".
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No. Say these consonants softly.
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Don't push your voice and say it softly.
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12:59
Fortune 500 companies.
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13:01
Fortune 500 companies.
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13:03
And if it's difficult.
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13:04
Say it 50 times in a row.
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13:07
Fortune 500 companies.
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13:08
And it doesn't matter that you need
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13:09
to be saying this phrase properly or not.
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13:13
When you practice something that is
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13:14
challenging and you manage to master it
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13:16
you improve a little more you are able to do other things that are also challenging.
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13:21
Okay.
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13:22
So even if you're saying to yourself
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13:23
"I don't need this speech."
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13:25
"I don't need this phrase."
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"This is not a good practice."
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13:29
Then forget about these bad voices in your head.
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13:32
Just practice it because every time
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13:33
you practice something and improve
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in it you're improving English as well.
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So, Fortune 500 companies are women.
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13:41
Under 5 percent of
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13:42
CEOs of Fortune 500 companies
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are women.
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13:46
So it's not "are women", it's
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not super stressed.
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13:49
Okay. That's how she manages to get to her point nicely.
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13:53
r-women.
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13:55
r-women.
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13:56
Only 19 percent of Congress is women.
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14:00
Only 19 percent of Congress is women.
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14:04
Ta-ra-ta-ra-ta-ta-TA-ta-ta.
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14:07
Right. Short-long, short-long.
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14:10
Only 19 percent.
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14:11
So this is stressed, it's longer,
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14:13
deliberately longer.
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14:15
Of Congress, of Congress.
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14:17
Ta-TA-DA.
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14:18
Right. It's not "of Congress".
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14:21
The CON is the primary
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14:23
stress it's one syllable.
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14:24
It doesn't have the same length as
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14:26
"of". There is also one syllable
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14:27
cause "of" is reduced
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14:29
and it's not important.
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14:30
So it's pronounced quickly.
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14:33
ev-CON-gress
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14:34
is-women, is-women.
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14:35
Right.
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14:36
And again notice what she does.
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14:37
It's not "of Congress as women".
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14:39
Not everything is connected.
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14:40
It is phrased.
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14:41
There is a mini break "of Congress"
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14:43
"is women", right.
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14:45
Like a mini-clap right there in the middle.
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14:48
Only 19 percent of Congress is women.
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14:51
These are the phrases it's like a
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14:53
mental break that you're taking allowing you to speed up in the next race.
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14:59
Only 19 percent of Congress
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15:01
| is women.
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15:02
No wonder we don't have the health
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15:04
care we deserve.
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15:05
No wonder we don't have.
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15:06
That's like a common intonation pattern
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15:10
of this particular phrase.
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15:11
No wonder you're tired you haven't been getting enough sleep.
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15:14
No wonder she's acting out she's been eating candies all afternoon.
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4390
15:19
No wonder we don't have.
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15:21
"Wonder" is the stressed word,
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15:23
"we don't have", "we don't have" is reduced.
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15:26
The health care we deserve.
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15:27
The health care we deserve.
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15:29
The health care we deserve.
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15:31
The HEALTH care we
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15:32
deserve. Right.
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15:33
So "health care" is important and
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1851
15:35
"we deserve" is a little less.
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15:37
Although it's important.
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15:38
So "we deserve" is pronounced
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1699
15:40
fully, It is not reduced
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15:42
but it's lower in pitch to.
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1991
15:44
Ta-TA-ra-ta-TA.
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1000
15:45
The HEALTHcare we deserve.
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1949
15:47
Notice how people speak around you. This is a very common speech pattern.
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15:52
No wonder we don't have the health care we deserve.
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2961
15:55
Or paid family leave or public access to early childhood education.
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4659
16:00
Or paid family leave or public
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16:01
access to early childhood education.
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3300
16:05
So she's listing things and every
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965139
1980
16:07
time she lists something else it
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1900
16:09
is going to be higher in pitch.
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1771
16:10
No wonder we don't have the health
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1759
16:12
care we deserve or paid family leave.
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3010
16:15
Or public access to early childhood education.
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4541
16:20
Or public ACCESS.
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1139
16:21
Right. So again she's building it up.
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4760
16:25
Health care we deserve.
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2421
16:28
Paid family leave.
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2169
16:30
Public access
425
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1520
16:32
to early childhood education.
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16:34
And then she keeps going down in
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16:36
her low tone, in her lower
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16:38
range right in her chest voice
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16:40
and or paid access.
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1239
16:42
Right.
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16:43
So this perception of women only
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16:44
talking up here
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2011
16:46
is not right.
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1409
16:47
They go to their head voice and men as well.
435
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16:50
By the way it's not just women.
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1590
16:52
They go to head voice when they stress words in parts of the sentence and then parts
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5181
16:57
of the sentence are also really really low in pitch.
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3169
17:00
And we need to balance between the
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17:02
highs and the low, the head voice
440
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1860
17:03
and the chest voice, the long
441
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2541
17:06
and the short, the fast and the slow.
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3739
17:10
And that really worries me.
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17:12
And that really worries me.
444
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2781
17:15
And that, and that and that.
445
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2010
17:17
"That" is reduced and "that" is short.
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2389
17:19
"And that" (going down) REALLY (stressed, the word really is usually stressed)
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5300
17:25
"Really worries me".
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17:26
But whatever comes after is usually more stress.
449
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17:29
And that really worries me.
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2819
17:32
And pronunciation aside, that really worries me too.
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17:36
Okay, this was an example of how you
452
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17:39
can take a speech, and interview, a TED talk that you like and analyze
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17:43
it according to the things we learned.
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17:46
I hope that this video helped you notice these things a little more.
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17:50
Things that your brain usually filters out.
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17:52
Things like rhythm, pitch, difference, voice difference, length
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17:57
and pace.
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17:59
So a good way to practice is to take a text,
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18:03
underline the stressed words, cross out the reduced words
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18:07
and try to imitate what you're hearing knowing what words you're going for.
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18:12
And by "going for" I mean going higher in pitch, prolonging them.
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18:17
and reducing, softening and going lower in pitch for
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18:20
everything else that is not stressed.
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18:23
Okay. That's it. Thank you so much for watching.
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18:25
Now let me know in the comments below what is the most important
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18:28
thing that you've learned about American intonation or rhythm in this video.
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18:33
And also tell me what you think about the content of the speech that we analyzed.
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18:38
Have a wonderful week full of music and melody and rhythm and
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18:42
I will see you next week in the next video.
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Bye.
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880
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