American English INTONATION - How to Understand Native English Speakers Better

875,276 views ใƒป 2018-04-08

Accent's Way English with Hadar


์•„๋ž˜ ์˜๋ฌธ์ž๋ง‰์„ ๋”๋ธ”ํด๋ฆญํ•˜์‹œ๋ฉด ์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋ฒˆ์—ญ๋œ ์ž๋ง‰์€ ๊ธฐ๊ณ„ ๋ฒˆ์—ญ๋ฉ๋‹ˆ๋‹ค.

00:00
Hi. What's up? How are you? Hey guys, it's Hadar and this is The Accent's Way. Today
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์•ˆ๋…•. ๋ฌด์Šจ ์ผ์ด์•ผ? ์–ด๋–ป๊ฒŒ ์ง€๋‚ด์„ธ์š”? ์—ฌ๋Ÿฌ๋ถ„ ํ•˜๋‹ค ๋ฅด ์ด๊ณ  ์—ฌ๊ธฐ๋Š” ๋” ์—‘์„ผํŠธ์Šค ์›จ์ด ์ž…๋‹ˆ๋‹ค. ์˜ค๋Š˜์€
00:09
we are going to talk about American intonation. Now I know that usually in
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๋ฏธ๊ตญ ์–ต์–‘์— ๋Œ€ํ•ด ์•Œ์•„๋ณด๊ฒ ์Šต๋‹ˆ๋‹ค . ์ด์ œ ๋‚˜๋Š” ๋ณดํ†ต
00:15
this channel I talk about pronunciation, but don't get me wrong.
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์ด ์ฑ„๋„์—์„œ ๋ฐœ์Œ์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐํ•œ๋‹ค๋Š” ๊ฒƒ์„ ์•Œ๊ณ  ์žˆ์ง€๋งŒ ์˜คํ•ดํ•˜์ง€ ๋งˆ์‹ญ์‹œ์˜ค.
00:19
American intonation is not less important, and sometimes more important,
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๋ฏธ๊ตญ์‹ ์–ต์–‘์€ ๋ฐœ์Œ๋ณด๋‹ค ๋œ ์ค‘์š”ํ•œ ๊ฒƒ์ด ์•„๋‹ˆ๋ผ ๋•Œ๋กœ๋Š” ๋” ์ค‘์š”ํ•˜๊ธฐ ๋•Œ๋ฌธ์—
00:24
than pronunciation and this is why I figured it is time to talk about
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00:30
American intonation. So today I'm going to open the wonders of American
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๋ฏธ๊ตญ์‹ ์–ต์–‘์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐํ•ด์•ผ ํ•  ๋•Œ๋ผ๊ณ  ์ƒ๊ฐํ–ˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋ž˜์„œ ์˜ค๋Š˜ ์ €๋Š”
00:35
intonation so you can start listening to English rather differently. When we talk
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์—ฌ๋Ÿฌ๋ถ„์ด ์˜์–ด๋ฅผ ์กฐ๊ธˆ ๋‹ค๋ฅด๊ฒŒ ๋“ฃ๊ธฐ ์‹œ์ž‘ํ•  ์ˆ˜ ์žˆ๋„๋ก ๋ฏธ๊ตญ ์–ต์–‘์˜ ๊ฒฝ์ด๋กœ์›€์„ ๊ณต๊ฐœํ•  ๊ฒƒ์ž…๋‹ˆ๋‹ค .
00:41
about intonation we are talking about three things. One is the melody - the music
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์–ต์–‘์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐํ•  ๋•Œ ์šฐ๋ฆฌ๋Š” ์„ธ ๊ฐ€์ง€์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐํ•ฉ๋‹ˆ๋‹ค . ํ•˜๋‚˜๋Š” ๋ฉœ๋กœ๋””, ์ฆ‰
00:48
of the language. When I go up in pitch. When I go down - "Ha-dar" - tuh-TAH. If I take
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์–ธ์–ด์˜ ์Œ์•…์ž…๋‹ˆ๋‹ค. ๋‚ด๊ฐ€ ํ”ผ์น˜๋ฅผ ์˜ฌ๋ฆด ๋•Œ. ๋‚ด๊ฐ€ ๋‚ด๋ ค๊ฐˆ ๋•Œ- "Ha-dar"-tuh-TAH.
00:55
away the words and I just play it, it's just like a song or a tune that I'm
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๊ฐ€์‚ฌ๋ฅผ ๋นผ๊ณ  ๊ทธ๋ƒฅ ์—ฐ์ฃผํ•˜๋ฉด ๋‚ด๊ฐ€ ์—ฐ์ฃผํ•˜๋Š” ๋…ธ๋ž˜๋‚˜ ๊ณก๊ณผ ๊ฐ™์Šต๋‹ˆ๋‹ค.
00:59
playing - Tah ta-ta-dah ta ta-ta-dah-ta-tah. So when you're listening to English
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Tah ta-ta-dah ta ta-ta-dah-ta-tah. ๋”ฐ๋ผ์„œ ์˜์–ด๋ฅผ ๋“ฃ
01:05
or when you're speaking English you also want to consider the melody, the notes
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๊ฑฐ๋‚˜ ์˜์–ด๋กœ ๋งํ•  ๋•Œ ์‚ฌ์šฉํ•˜๋Š” ์Œํ‘œ์ธ ๋ฉœ๋กœ๋””๋„ ๊ณ ๋ คํ•ด์•ผ ํ•ฉ๋‹ˆ๋‹ค
01:10
that you're using. We're also going to talk about stress. Stress is what words
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. ์šฐ๋ฆฌ๋Š” ์ŠคํŠธ๋ ˆ์Šค์— ๋Œ€ํ•ด์„œ๋„ ์ด์•ผ๊ธฐํ•  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ์ŠคํŠธ๋ ˆ์Šค๋Š”
01:16
you choose to stress in a given sentence. What are you doing? Or, what are you doing?
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์ฃผ์–ด์ง„ ๋ฌธ์žฅ์—์„œ ๊ฐ•์กฐํ•˜๊ธฐ ์œ„ํ•ด ์„ ํƒํ•œ ๋‹จ์–ด์ž…๋‹ˆ๋‹ค. ๋ญํ•˜์„ธ์š”? ์•„๋‹ˆ๋ฉด, ๋ญํ•˜๋Š”๊ฑฐ์•ผ?
01:23
'What' verses 'doing'. While there are some patterns and a neutral way of saying
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'๋ฌด์—‡์„ ํ•˜๋‹ค'๋Š” 'ํ•˜๋Š” ๊ฒƒ'์ž…๋‹ˆ๋‹ค. ๋ช‡ ๊ฐ€์ง€ ํŒจํ„ด๊ณผ ์ค‘๋ฆฝ์ ์ธ ํ‘œํ˜„ ๋ฐฉ์‹์ด ์žˆ์ง€๋งŒ
01:28
things, there's also a lot of freedom. Of course, it depends on the context, the
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์ž์œ ๋„๋„ ๋งŽ์Šต๋‹ˆ๋‹ค. ๋ฌผ๋ก  ๋ฌธ๋งฅ,
01:32
attitude, and many other things, but you first need to know the building blocks
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ํƒœ๋„ ๋ฐ ๊ธฐํƒ€ ์—ฌ๋Ÿฌ ๊ฐ€์ง€์— ๋”ฐ๋ผ ๋‹ค๋ฅด์ง€๋งŒ ๋จผ์ €
01:38
and the basis of what words are usually stressed and what words are not stressed
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์ผ๋ฐ˜์ ์œผ๋กœ ๊ฐ•์กฐ๋˜๋Š” ๋‹จ์–ด์™€ ๋Œ€๋ถ€๋ถ„ ๊ฐ•์กฐ๋˜์ง€ ์•Š๋Š” ๋‹จ์–ด์˜ ๊ตฌ์„ฑ ์š”์†Œ์™€ ๊ธฐ์ดˆ๋ฅผ ์•Œ์•„์•ผ ํ•ฉ๋‹ˆ๋‹ค
01:43
for the most part. Now, lastly, we have rhythm. Rhythm is the real deal. Its the
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. ์ด์ œ ๋งˆ์ง€๋ง‰์œผ๋กœ ๋ฆฌ๋“ฌ์ด ์žˆ์Šต๋‹ˆ๋‹ค. ๋ฆฌ๋“ฌ์€ ์ง„์งœ ๊ฑฐ๋ž˜์ž…๋‹ˆ๋‹ค.
01:49
feel of the language. It's really owning it once you start using American rhythm.
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์–ธ์–ด์˜ ๋Š๋‚Œ์ž…๋‹ˆ๋‹ค. ๋ฏธ๊ตญ ๋ฆฌ๋“ฌ์„ ์‚ฌ์šฉํ•˜๊ธฐ ์‹œ์ž‘ํ•˜๋ฉด ์ •๋ง ์†Œ์œ ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
01:54
Now, you have to understand that English is a perfect balance between the long
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์ด์ œ ์—ฌ๋Ÿฌ๋ถ„์€ ์˜์–ด๊ฐ€ ๊ธด ๊ฒƒ๊ณผ
02:00
versus short, the high versus low, the stressed versus the effortless, and when
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์งง์€ ๊ฒƒ, ๋†’์€ ๊ฒƒ๊ณผ ๋‚ฎ์€ ๊ฒƒ, ์ŠคํŠธ๋ ˆ์Šค ๋ฐ›๋Š” ๊ฒƒ๊ณผ ํž˜๋“ค์ง€ ์•Š์€
02:06
you are able to balance between all these things in an effortless
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๊ฒƒ ์‚ฌ์ด์˜ ์™„๋ฒฝํ•œ ๊ท ํ˜•์ด๋ผ๋Š” ๊ฒƒ์„ ์ดํ•ดํ•ด์•ผ ํ•ฉ๋‹ˆ๋‹ค.
02:10
and clear way, this is when you become a strong speaker who is able to
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๋‹น์‹ ์€
02:16
communicate their message in a clear and confident way. Now today, we're going to
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๊ทธ๋“ค์˜ ๋ฉ”์‹œ์ง€๋ฅผ ๋ช…ํ™•ํ•˜๊ณ  ์ž์‹  ์žˆ๊ฒŒ ์ „๋‹ฌํ•  ์ˆ˜ ์žˆ๋Š” ๊ฐ•๋ ฅํ•œ ์—ฐ์‚ฌ๊ฐ€ ๋ฉ๋‹ˆ๋‹ค. ์˜ค๋Š˜์€
02:21
discuss all of these elements but in the future I will release more in-depth
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์ด๋Ÿฌํ•œ ๋ชจ๋“  ์š”์†Œ์— ๋Œ€ํ•ด ๋…ผ์˜ํ•  ์˜ˆ์ •์ด์ง€๋งŒ ์•ž์œผ๋กœ๋Š”
02:25
videos about each and every subject with many, many examples and more explanation.
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๊ฐ ์ฃผ์ œ์— ๋Œ€ํ•œ ๋งŽ์€ ์˜ˆ์™€ ์„ค๋ช…์ด ํฌํ•จ๋œ ๋ณด๋‹ค ์‹ฌ๋„ ์žˆ๋Š” ๋™์˜์ƒ์„ ๊ณต๊ฐœํ•  ์˜ˆ์ •์ž…๋‹ˆ๋‹ค.
02:31
Before we talk about these elements, I want to talk about the different types
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์ด๋Ÿฌํ•œ ์š”์†Œ์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐํ•˜๊ธฐ ์ „์— ๋‹ค์–‘ํ•œ ์œ ํ˜•์˜ ๋‹จ์–ด์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐํ•˜๊ณ  ์‹ถ์Šต๋‹ˆ๋‹ค
02:36
of words. So, in English, actually in any language, the words in the language are
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. ๋”ฐ๋ผ์„œ ์˜์–ด์—์„œ ์‹ค์ œ๋กœ ๋ชจ๋“  ์–ธ์–ด์—์„œ ์–ธ์–ด์˜ ๋‹จ์–ด๋Š”
02:43
divided into two main groups: content words and function words. Content words
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๋‚ด์šฉ์–ด์™€ ๊ธฐ๋Šฅ์–ด๋ผ๋Š” ๋‘ ๊ฐ€์ง€ ์ฃผ์š” ๊ทธ๋ฃน์œผ๋กœ ๋‚˜๋‰ฉ๋‹ˆ๋‹ค . ์ฝ˜ํ…์ธ  ๋‹จ์–ด๋Š”
02:49
are words that deliver the content nouns, like 'sister', 'table', 'school'; verbs 'go', 'run'
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'sister', 'table', 'school'๊ณผ ๊ฐ™์ด ์ฝ˜ํ…์ธ  ๋ช…์‚ฌ๋ฅผ ์ „๋‹ฌํ•˜๋Š” ๋‹จ์–ด์ž…๋‹ˆ๋‹ค. ๋™์‚ฌ '๊ฐ€๋‹ค', '๋‹ฌ๋ฆฌ๋‹ค'
03:00
'swim', 'think'; adjectives 'beautiful', 'red', 'clean'; and adverbs 'slowly', 'sometimes',
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'์ˆ˜์˜ํ•˜๋‹ค', '์ƒ๊ฐํ•˜๋‹ค'; ํ˜•์šฉ์‚ฌ '์•„๋ฆ„๋‹ค์šด', '๋นจ๊ฐ•', '๊นจ๋—ํ•œ'; ๊ทธ๋ฆฌ๊ณ  ๋ถ€์‚ฌ '์ฒœ์ฒœํžˆ', '๊ฐ€๋”',
03:13
'beautifully' and 'fast'. The other group is function words. These are all the small
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'์•„๋ฆ„๋‹ต๊ฒŒ', '๋น ๋ฅด๊ฒŒ'. ๋‹ค๋ฅธ ๊ทธ๋ฃน์€ ๊ธฐ๋Šฅ ๋‹จ์–ด์ž…๋‹ˆ๋‹ค. ์ด๋“ค์€ ๋ชจ๋‘
03:20
words that connect content words. They're essential to create a grammatically
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์ฝ˜ํ…์ธ  ๋‹จ์–ด๋ฅผ ์—ฐ๊ฒฐํ•˜๋Š” ์ž‘์€ ๋‹จ์–ด์ž…๋‹ˆ๋‹ค. ๋ฌธ๋ฒ•์ ์œผ๋กœ ์˜ฌ๋ฐ”๋ฅธ ๋ฌธ์žฅ์„ ๋งŒ๋“œ๋Š” ๋ฐ ํ•„์ˆ˜์ ์ด์ง€๋งŒ
03:26
correct sentence, but when they stand alone they don't signify anything. We
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๋‹จ๋…์œผ๋กœ ์‚ฌ์šฉํ•˜๋ฉด ์•„๋ฌด ์˜๋ฏธ๊ฐ€ ์—†์Šต๋‹ˆ๋‹ค. ์šฐ๋ฆฌ๋Š”
03:31
don't know exactly what they mean. We are talking here about prepositions like 'on',
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๊ทธ๊ฒƒ๋“ค์ด ์ •ํ™•ํžˆ ๋ฌด์—‡์„ ์˜๋ฏธํ•˜๋Š”์ง€ ๋ชจ๋ฆ…๋‹ˆ๋‹ค. ์šฐ๋ฆฌ๋Š” ์—ฌ๊ธฐ์„œ 'on',
03:35
'in', 'at'; verb be - 'am', 'is', 'are'; articles 'a', 'an'; determiners like 'the', 'this', 'that'. These
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'in', 'at'๊ณผ ๊ฐ™์€ ์ „์น˜์‚ฌ์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค. ๋™์‚ฌ be - 'am', 'is', 'are'; ๊ด€์‚ฌ 'a', 'an'; 'the', 'this', 'that'๊ณผ ๊ฐ™์€ ํ•œ์ •์‚ฌ. ์ด๊ฒƒ์€
03:44
are the words that non-native speakers struggle with when they're trying to
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์›์–ด๋ฏผ์ด ์•„๋‹Œ ์‚ฌ๋žŒ๋“ค์ด
03:47
construct a sentence because, is it "have been", "has been", "had been"? So, when we speak, there
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๋ฌธ์žฅ์„ ๊ตฌ์„ฑํ•˜๋ ค๊ณ  ํ•  ๋•Œ ์–ด๋ ค์›€์„ ๊ฒช๋Š” ๋‹จ์–ด๋“ค์ž…๋‹ˆ๋‹ค. "have been", "had been", "had been"์ธ๊ฐ€์š”? ๊ทธ๋ž˜์„œ ์šฐ๋ฆฌ๊ฐ€ ๋งํ•  ๋•Œ
03:54
is always a strong preference towards stressing content words. Content words
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ํ•ญ์ƒ ๋‚ด์šฉ์–ด๋ฅผ ๊ฐ•์กฐํ•˜๋Š” ๊ฒƒ์„ ๊ฐ•ํ•˜๊ฒŒ ์„ ํ˜ธํ•ฉ๋‹ˆ๋‹ค. ๋‚ด์šฉ ๋‹จ์–ด๋Š”
04:00
are the important words. If you say "had been" versus "have been" the message is still
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์ค‘์š”ํ•œ ๋‹จ์–ด์ž…๋‹ˆ๋‹ค. ๋งŒ์•ฝ ๋‹น์‹ ์ด " ์žˆ์—ˆ๋‹ค" ๋Œ€ "์žˆ์—ˆ๋‹ค"๋ผ๊ณ  ๋งํ•œ๋‹ค๋ฉด ๋ฉ”์‹œ์ง€๋Š” ์—ฌ์ „ํžˆ
04:05
going to be clear. But, if you say "red" instead of "blue", that's something
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๋ช…ํ™•ํ•  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ "ํŒŒ๋ž€์ƒ‰" ๋Œ€์‹  "๋นจ๊ฐ„์ƒ‰"์ด๋ผ๊ณ  ํ•˜๋ฉด
04:11
completely different. So content words are always more important and that's how
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์™„์ „ํžˆ ๋‹ค๋ฅธ ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๋”ฐ๋ผ์„œ ๋‚ด์šฉ์–ด๋Š” ํ•ญ์ƒ ๋” ์ค‘์š”ํ•˜๋ฉฐ ์–ต์–‘์— ๋Œ€ํ•ด
04:15
we treat them when we think about intonation because content words are the
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์ƒ๊ฐํ•  ๋•Œ ๋‚ด์šฉ์–ด๋Š”
04:19
words that are stressed usually, whereas function words
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์ผ๋ฐ˜์ ์œผ๋กœ ๊ฐ•์„ธ๋ฅผ ๋ฐ›๋Š” ๋‹จ์–ด์ธ ๋ฐ˜๋ฉด ๊ธฐ๋Šฅ์–ด๋Š”
04:23
are unstressed. And not only that they're unstressed, they were reduced to a point
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๊ฐ•์„ธ๋ฅผ ๋ฐ›์ง€ ์•Š๊ธฐ ๋•Œ๋ฌธ์— ๋‚ด์šฉ์–ด๋ฅผ ์ทจ๊ธ‰ํ•˜๋Š” ๋ฐฉ์‹์ž…๋‹ˆ๋‹ค. ์ŠคํŠธ๋ ˆ์Šค๋ฅผ ๋ฐ›์ง€ ์•Š์•˜์„ ๋ฟ๋งŒ ์•„๋‹ˆ๋ผ ๋” ์ด์ƒ ๋ช…ํ™•ํ•˜์ง€ ์•Š์€ ์ •๋„๋กœ ์ถ•์†Œ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
04:28
that it's even not clear anymore and I'll give you a few more examples in a
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๊ณง ๋ช‡ ๊ฐ€์ง€ ์˜ˆ๋ฅผ ๋” ๋“œ๋ฆฌ๊ฒ ์Šต๋‹ˆ๋‹ค
04:33
second. Let's take for example the sentence, and I'm going to say it broken
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. ์˜ˆ๋ฅผ ๋“ค์–ด ๋ฌธ์žฅ์„ ๋ด…์‹œ๋‹ค.
04:38
down a little bit, "The glass is on the table." "The glass is on the table." And now
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"The glass is on the table." "์œ ๋ฆฌ๊ฐ€ ํ…Œ์ด๋ธ” ์œ„์— ์žˆ์Šต๋‹ˆ๋‹ค." ์ด์ œ
04:46
I'm gonna talk about all three elements: melody, word stress and rhythm. So first
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์„ธ ๊ฐ€์ง€ ์š”์†Œ์ธ ๋ฉœ๋กœ๋””, ๋‹จ์–ด ๊ฐ•์„ธ ๋ฐ ๋ฆฌ๋“ฌ์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐํ•˜๊ฒ ์Šต๋‹ˆ๋‹ค. ๊ทธ๋ž˜์„œ
04:51
of all stress. We need to decide what are the stressed words in the sentence. So
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์šฐ์„  ์ŠคํŠธ๋ ˆ์Šค. ๋ฌธ์žฅ์—์„œ ๊ฐ•์กฐ๋œ ๋‹จ์–ด๊ฐ€ ๋ฌด์—‡์ธ์ง€ ๊ฒฐ์ •ํ•ด์•ผ ํ•ฉ๋‹ˆ๋‹ค. ๋”ฐ๋ผ์„œ
04:56
let's first recognize what are the content words. "The glass is on the table."
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๋จผ์ € ๋‚ด์šฉ ๋‹จ์–ด๊ฐ€ ๋ฌด์—‡์ธ์ง€ ์ธ์‹ํ•ฉ์‹œ๋‹ค . "์œ ๋ฆฌ๊ฐ€ ํ…Œ์ด๋ธ” ์œ„์— ์žˆ์Šต๋‹ˆ๋‹ค."
05:02
we have 'glass' and 'table', two nouns. And these are the words that I'm going to
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์šฐ๋ฆฌ๋Š” '์œ ๋ฆฌ'์™€ 'ํ…Œ์ด๋ธ”', ๋‘ ๊ฐœ์˜ ๋ช…์‚ฌ๋ฅผ ๊ฐ€์ง€๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋ฆฌ๊ณ  ์ด๊ฒƒ์ด ์ œ๊ฐ€
05:07
stress in this sentence. Not every content word is stressed the same, but
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์ด ๋ฌธ์žฅ์—์„œ ๊ฐ•์กฐํ•  ๋‹จ์–ด์ž…๋‹ˆ๋‹ค. ๋ชจ๋“  ์ฝ˜ํ…์ธ  ๋‹จ์–ด๊ฐ€ ๋™์ผํ•˜๊ฒŒ ๊ฐ•์กฐ๋˜๋Š” ๊ฒƒ์€ ์•„๋‹ˆ์ง€๋งŒ
05:13
for now let's agree that these two words are the words that I choose to stress.
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์ง€๊ธˆ์€ ์ด ๋‘ ๋‹จ์–ด๊ฐ€ ๋‚ด๊ฐ€ ๊ฐ•์กฐํ•˜๊ธฐ๋กœ ์„ ํƒํ•œ ๋‹จ์–ด๋ผ๋Š” ๋ฐ ๋™์˜ํ•ฉ์‹œ๋‹ค.
05:16
This is where melody and rhythm comes into play. Stressed words are higher in
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๋ฉœ๋กœ๋””์™€ ๋ฆฌ๋“ฌ์ด ์ž‘์šฉํ•˜๋Š” ๊ณณ์ž…๋‹ˆ๋‹ค . ๊ฐ•์„ธ๊ฐ€ ์žˆ๋Š” ๋‹จ์–ด๋Š”
05:22
pitch and longer. Higher in pitch, so they get a higher note TAH-dah. The first note
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ํ”ผ์น˜๊ฐ€ ๋” ๋†’๊ณ  ๋” ๊น๋‹ˆ๋‹ค. ํ”ผ์น˜๊ฐ€ ๋†’์œผ๋ฉด ๋” ๋†’์€ ์Œ์„ ์–ป์Šต๋‹ˆ๋‹ค TAH-dah. ์ฒซ ๋ฒˆ์งธ ์Œ์€
05:31
was higher in pitch - TAH-dah - and they're longer. Okay. "The GLASSs is on
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ํ”ผ์น˜๊ฐ€ ๋” ๋†’์•˜๊ณ (TAH-dah) ๋” ๊น๋‹ˆ๋‹ค. ์ข‹์•„์š”. "์œ ๋ฆฌ์ž”์ด ํƒ์ž ์œ„์— ์žˆ์Šต๋‹ˆ๋‹ค
05:40
the TABLE." So notice that I raised the pitch for 'glass' and 'table'. "The glass is
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." ๊ทธ๋ž˜์„œ '์œ ๋ฆฌ'์™€ 'ํ…Œ์ด๋ธ”'์— ๋Œ€ํ•œ ํ”ผ์น˜๋ฅผ ๋†’์˜€์Šต๋‹ˆ๋‹ค. "์œ ๋ฆฌ๊ฐ€
05:48
on the table." Okay. So in terms of melody, when words are stressed they're also
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ํ…Œ์ด๋ธ” ์œ„์— ์žˆ์Šต๋‹ˆ๋‹ค." ์ข‹์•„์š”. ๋”ฐ๋ผ์„œ ๋ฉœ๋กœ๋”” ์ธก๋ฉด์—์„œ ๋‹จ์–ด์— ๊ฐ•์„ธ๊ฐ€ ์žˆ์„ ๋•Œ ์Œ๋†’์ด๋„
05:55
higher in pitch. Now one more thing I want to tell you about melody is that
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๋†’์•„์ง‘๋‹ˆ๋‹ค. ์ด์ œ ๋ฉœ๋กœ๋””์— ๋Œ€ํ•ด ํ•œ ๊ฐ€์ง€ ๋” ๋ง์”€๋“œ๋ฆฌ๊ณ  ์‹ถ์€ ๊ฒƒ์€ ์˜์–ด์—์„œ๋Š”
05:59
every syllable receives a different note in English. It is not "The glass is on the
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๋ชจ๋“  ์Œ์ ˆ์ด ๋‹ค๋ฅธ ์Œ์„ ๋ฐ›๋Š”๋‹ค๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค . "ํ…Œ์ด๋ธ” ์œ„์— ์œ ๋ฆฌ๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค
06:06
table" - ta-ta-ta-ta-ta-ta-ta. "The glasses on the table." It's not "The GLASS
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"๊ฐ€ ์•„๋‹™๋‹ˆ๋‹ค-ta-ta-ta-ta-ta-ta-ta. " ํ…Œ์ด๋ธ” ์œ„์˜ ์•ˆ๊ฒฝ." "The GLASS
06:12
is ON the TABLE." Its not every word is going up and down, but I choose the
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is ON the TABLE"์ด ์•„๋‹™๋‹ˆ๋‹ค. ๋ชจ๋“  ๋‹จ์–ด๊ฐ€ ์˜ค๋ฅด๋ฝ๋‚ด๋ฆฌ๋ฝํ•˜๋Š” ๊ฒƒ์€ ์•„๋‹ˆ์ง€๋งŒ
06:17
stress words and then these are the words that are going to be higher in
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๊ฐ•์„ธ ๋‹จ์–ด๋ฅผ ์„ ํƒํ•˜๋ฉด ์Œ์กฐ๊ฐ€ ๋” ๋†’์•„์งˆ ๋‹จ์–ด๋“ค์ด๊ณ 
06:21
pitch and from there I either go down or I go up. Every syllable takes me one step
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๊ฑฐ๊ธฐ์—์„œ ๋‚ด๋ฆฌ๊ฑฐ๋‚˜ ์˜ฌ๋ผ๊ฐ‘๋‹ˆ๋‹ค. ๋ชจ๋“  ์Œ์ ˆ์€ ์ €๋ฅผ ํ•œ ๋‹จ๊ณ„
06:30
lower or higher. In this case, "The GLASS is on
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๋‚ฎ๊ฑฐ๋‚˜ ๋†’๊ฒŒ ๋งŒ๋“ญ๋‹ˆ๋‹ค. ์ด ๊ฒฝ์šฐ "The GLASS is on
06:37
the" - so I keep going down because these are not stressed words - "TAY", I'm starting
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the" - ๊ฐ•์„ธ๊ฐ€ ์žˆ๋Š” ๋‹จ์–ด๊ฐ€ ์•„๋‹ˆ๋ฏ€๋กœ ๊ณ„์† ๋‚ด๋ฆฝ๋‹ˆ๋‹ค
06:44
a new word that is stressed so I'm gonna go high in pitch. "TAY-ble". "The glass is on
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. "ํ…Œ์ด๋ธ”". "์œ ๋ฆฌ๊ฐ€ ํ…Œ์ด๋ธ” ์œ„์— ์žˆ์Šต๋‹ˆ๋‹ค
06:49
the table." So that's melody what words I choose to
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." ๊ทธ๋ž˜์„œ ์ œ๊ฐ€
06:54
stress and go high in pitch for. Now, while we choose to shine on the content
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๊ฐ•์กฐํ•˜๊ณ  ์Œ๋†’์ด๋ฅผ ๋†’์ด๊ธฐ ์œ„ํ•ด ์„ ํƒํ•œ ๋‹จ์–ด๊ฐ€ ๋ฉœ๋กœ๋””์ž…๋‹ˆ๋‹ค. ์ด์ œ ์šฐ๋ฆฌ๋Š” ์ฝ˜ํ…์ธ 
07:01
words, the words that bring the content, in this case glass and tea bowl, by going
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๋‹จ์–ด, ์ฝ˜ํ…์ธ ๋ฅผ ๊ฐ€์ ธ์˜ค๋Š” ๋‹จ์–ด, ์ด ๊ฒฝ์šฐ ์œ ๋ฆฌ์™€ ์ฐป์ž”
07:06
higher in pitch and prolonging them, function words play a smaller role in
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์— ๋น›์„ ๋ฐœํ•˜๊ธฐ๋กœ ์„ ํƒํ–ˆ์ง€๋งŒ ์Œ์กฐ๋ฅผ ๋†’์ด๊ณ  ํ™•์žฅํ•˜์—ฌ ๊ธฐ๋Šฅ ๋‹จ์–ด๋Š” ์ด ์‡ผ์—์„œ ๋” ์ž‘์€ ์—ญํ• ์„ ํ•ฉ๋‹ˆ๋‹ค
07:11
this show. They are reduced. We kind of want to hide them. We want to reduce them
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. ๊ทธ๋“ค์€ ๊ฐ์†Œํ•ฉ๋‹ˆ๋‹ค. ์šฐ๋ฆฌ๋Š” ๊ทธ๊ฒƒ๋“ค์„ ์ˆจ๊ธฐ๊ณ  ์‹ถ์–ดํ•ฉ๋‹ˆ๋‹ค.
07:18
to a point where they don't interfere or they don't compete with content words. So,
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๋ฐฉํ•ดํ•˜์ง€ ์•Š๊ฑฐ๋‚˜ ์ฝ˜ํ…์ธ  ๋‹จ์–ด์™€ ๊ฒฝ์Ÿํ•˜์ง€ ์•Š๋Š” ์ง€์ ์œผ๋กœ ์ค„์ด๊ณ  ์‹ถ์Šต๋‹ˆ๋‹ค. ๋”ฐ๋ผ์„œ
07:24
if we're going back to "The glass is on the table", function words are "the", "is", "on",
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"The glass is on the table"๋กœ ๋Œ์•„๊ฐ€๋ฉด ๊ธฐ๋Šฅ์–ด๋Š” "the", "is", "on"
07:31
and another "the". We reduce the vowel in those words to a schwa. A schwa is a
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๋ฐ ๋˜ ๋‹ค๋ฅธ "the"์ž…๋‹ˆ๋‹ค. ์šฐ๋ฆฌ๋Š” ๊ทธ ๋‹จ์–ด์˜ ๋ชจ์Œ์„ ์Šˆ์™€๋กœ ์ค„์ž…๋‹ˆ๋‹ค. ์Šˆ์™€๋Š”
07:38
really reduced vowel sound. It sounds something like this: "uh". To make the sound, we
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์‹ค์ œ๋กœ ์ถ•์†Œ๋œ ๋ชจ์Œ ์†Œ๋ฆฌ์ž…๋‹ˆ๋‹ค. "์–ด"์™€ ๊ฐ™์ด ๋“ค๋ฆฝ๋‹ˆ๋‹ค. ์†Œ๋ฆฌ๋ฅผ ๋‚ด๋ ค๋ฉด
07:46
just drop the jaw a little bit, the tongue rests on the bottom of the mouth
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ํ„ฑ์„ ์•ฝ๊ฐ„ ๋–จ์–ด๋œจ๋ฆฌ๊ณ  ํ˜€๋ฅผ ์ž… ๋ฐ”๋‹ฅ์— ๋Œ€๊ณ 
07:49
the lips are relaxed, and we release sound - "uh" "uh". So the vowels and the function
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์ž…์ˆ ์„ ์ด์™„ํ•œ ๋‹ค์Œ "์–ด" "์–ด" ์†Œ๋ฆฌ๋ฅผ ๋ƒ…๋‹ˆ๋‹ค. ๋”ฐ๋ผ์„œ ๋ชจ์Œ๊ณผ
07:57
words reduce through this "uh" sound. Therefore the word "the", okay we don't say
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๊ธฐ๋Šฅ์–ด๋Š” ์ด "์–ด" ์†Œ๋ฆฌ๋ฅผ ํ†ตํ•ด ์ค„์–ด๋“ญ๋‹ˆ๋‹ค. ๊ทธ๋Ÿฌ๋ฏ€๋กœ "the"๋ผ๋Š” ๋‹จ์–ด๋Š”
08:03
"thee glass", we say "thuh glass." So the vowel there is a schwa sound - "thuh" "thuh" -
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"thee glass"๋ผ๊ณ  ๋งํ•˜์ง€ ์•Š๊ณ  "thuh glass"๋ผ๊ณ  ๋งํ•ฉ๋‹ˆ๋‹ค. ๊ทธ๋ž˜์„œ ๊ฑฐ๊ธฐ์— ์žˆ๋Š” ๋ชจ์Œ์€ "thuh" "thuh"๋ผ๋Š” ์Šˆ์™€ ์†Œ๋ฆฌ๊ฐ€ ๋‚˜๊ณ 
08:09
and we connected it. It feels as if it's one word "the glass". "Is" turns into "uhz".
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์šฐ๋ฆฌ๋Š” ๊ทธ๊ฒƒ์„ ์—ฐ๊ฒฐํ–ˆ์Šต๋‹ˆ๋‹ค. ๋งˆ์น˜ "์œ ๋ฆฌ"๋ผ๋Š” ํ•œ ๋‹จ์–ด์ฒ˜๋Ÿผ ๋Š๊ปด์ง‘๋‹ˆ๋‹ค. "Is"๋Š” "uhz"๋กœ ๋ฐ”๋€๋‹ˆ๋‹ค.
08:17
"On" turns into "uhn", and again we have another "thuh". So it's not "is on the", its
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"On"์€ "uhn"์œผ๋กœ ๋ฐ”๋€Œ๊ณ  ๋˜ ๋‹ค๋ฅธ "thuh"๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค. ๋”ฐ๋ผ์„œ "is on the"๊ฐ€ ์•„๋‹ˆ๋ผ
08:27
"zun-thuh", "zun-thuh". We reduce the vowel and we connect the words together - "zun-thuh", "zun-thuh".
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"zun-thuh", "zun-thuh"์ž…๋‹ˆ๋‹ค. ๋ชจ์Œ์„ ์ค„์ด๊ณ  "zun-thuh", "zun-thuh"๋ผ๋Š” ๋‹จ์–ด๋ฅผ ํ•จ๊ป˜ ์—ฐ๊ฒฐํ•ฉ๋‹ˆ๋‹ค.
08:36
"Th'glass z'n'th table". "The glass on the table." "The glass on the table."
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"Th'glass z'n'th ํ…Œ์ด๋ธ”". "ํƒ์ž ์œ„์˜ ์œ ๋ฆฌ." "ํƒ์ž ์œ„์˜ ์œ ๋ฆฌ."
08:45
Now notice what happens, the "is" merges with "the glass" - "the glass'z".
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์ด์ œ "is"๊ฐ€ "the glass" - "the glass'z"์™€ ๋ณ‘ํ•ฉ๋ฉ๋‹ˆ๋‹ค.
08:50
"On" becomes 'mm' - "the glass'z'm". The N and TH connect - "the glass'n'th". Okay? So we can like
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"On"์€ 'mm' - "the glass'z'm"์ด ๋ฉ๋‹ˆ๋‹ค. N๊ณผ TH๋Š” "the glass'n'th"๋ฅผ ์—ฐ๊ฒฐํ•ฉ๋‹ˆ๋‹ค. ์ข‹์•„์š”? ๋”ฐ๋ผ์„œ ์šฐ๋ฆฌ๋Š”
08:58
took these three words and squeeze them into one utterance "zun-thuh" "zun-thuh".
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์ด ์„ธ ๋‹จ์–ด๋ฅผ ์ทจํ•˜์—ฌ "zun-thuh" "zun-thuh"๋ผ๋Š” ํ•˜๋‚˜์˜ ๋ฐœํ™”๋กœ ์••์ถ•ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
09:06
"The glass on the table." So you get a sentence that is a perfect balance between the high
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"ํƒ์ž ์œ„์˜ ์œ ๋ฆฌ." ๋”ฐ๋ผ์„œ ๋†’์Œ๊ณผ ๋‚ฎ์Œ ์‚ฌ์ด์˜ ์™„๋ฒฝํ•œ ๊ท ํ˜•์ธ ๋ฌธ์žฅ์„ ์–ป๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
09:11
and the low - "glass is on the" - between the long and the short - "glass is" - right? "Glass"
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"Glass"๋Š”
09:19
is long, although it's one syllable, and "is" is really reduced and also the stress. So
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ํ•œ ์Œ์ ˆ์ด์ง€๋งŒ ๊ธธ๊ณ , "is"๋Š” ์ •๋ง ์ค„์–ด๋“ค๊ณ  ์ŠคํŠธ๋ ˆ์Šค๋„ ์ค„์–ด๋“ญ๋‹ˆ๋‹ค. ๊ทธ๋ž˜์„œ
09:25
I invest more energy and I say a little louder - "GLASS z'n'th" - to be able to connect
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์ €๋Š” ๋” ๋งŽ์€ ์—๋„ˆ์ง€๋ฅผ ํˆฌ์žํ•˜๊ณ  ์กฐ๊ธˆ ๋” ํฌ๊ฒŒ ๋งํ•ฉ๋‹ˆ๋‹ค. "GLASS z'n'th" -
09:32
the words and to reduce them I have to say the consonants softer - okay? It's
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๋‹จ์–ด๋ฅผ ์—ฐ๊ฒฐํ•˜๊ณ  ์ค„์ผ ์ˆ˜ ์žˆ๋„๋ก ์ž์Œ์„ ๋” ๋ถ€๋“œ๋Ÿฝ๊ฒŒ ๋งํ•ด์•ผ ํ•ฉ๋‹ˆ๋‹ค.
09:36
not enough so I have to invest less energy in those function words to be
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๊ทธ๊ฒƒ๋งŒ์œผ๋กœ๋Š” ์ถฉ๋ถ„ํ•˜์ง€ ์•Š๊ธฐ ๋•Œ๋ฌธ์— ๊ธฐ๋Šฅ์–ด์— ์—๋„ˆ์ง€๋ฅผ ๋œ ํˆฌ์žํ•ด์•ผ
09:40
able to go through them smoothly and then be ready for the next content word
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์›ํ™œํ•˜๊ฒŒ ํ†ต๊ณผํ•  ์ˆ˜ ์žˆ๊ณ  ๋‹ค์Œ ๋‚ด์šฉ์–ด๋ฅผ ์ค€๋น„ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
09:46
where I'm gonna go higher pitch and I'm gonna prolong them. Let's look at another
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์—ฌ๊ธฐ์„œ ๋” ๋†’์€ ์Œ์กฐ๋กœ ๊ฐˆ ๊ฒƒ์ด๊ณ  ๊ทธ๊ฒƒ๋“ค์„ ์—ฐ์žฅํ•  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๋‹ค๋ฅธ
09:51
example, what if I told you that five words can be shorter than one word with
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์˜ˆ๋ฅผ ๋ด…์‹œ๋‹ค. ๋‹ค์„ฏ ๋‹จ์–ด๊ฐ€ ํ•œ ์Œ์ ˆ์„ ๊ฐ€์ง„ ํ•œ ๋‹จ์–ด๋ณด๋‹ค ์งง์„ ์ˆ˜ ์žˆ๋‹ค๊ณ  ๋งํ•˜๋ฉด ์–ด๋–จ๊นŒ์š”?
09:58
one syllable. Five words are going to be shorter than one word with one syllable.
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๋‹ค์„ฏ ๋‹จ์–ด๋Š” ํ•œ ์Œ์ ˆ๋กœ ๋œ ํ•œ ๋‹จ์–ด๋ณด๋‹ค ์งง์Šต๋‹ˆ๋‹ค.
10:04
How? Let's look at the next example: What are you going to do? The "do" is the verb
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์–ด๋–ป๊ฒŒ? ๋‹ค์Œ ์˜ˆ๋ฅผ ์‚ดํŽด๋ณด๊ฒ ์Šต๋‹ˆ๋‹ค. ๋ฌด์—‡์„ ํ•  ๊ฑด๊ฐ€์š”? ์—ฌ๊ธฐ์„œ "do"๋Š” ๋™์‚ฌ
10:14
here and that's the word that I'm going to stress, okay?
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์ด๊ณ  ์ œ๊ฐ€ ๊ฐ•์กฐํ•  ๋‹จ์–ด์ž…๋‹ˆ๋‹ค , ์•Œ์•˜์ฃ ?
10:18
Stress? Check! I know what word I'm stressing. Then, I know that in terms of
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์ŠคํŠธ๋ ˆ์Šค? ํ™•์ธํ•˜๋‹ค! ๋‚ด๊ฐ€ ๊ฐ•์กฐํ•˜๋Š” ๋‹จ์–ด๊ฐ€ ๋ฌด์—‡์ธ์ง€ ์••๋‹ˆ๋‹ค . ๊ทธ๋Ÿฐ ๋‹ค์Œ ๋ฉœ๋กœ๋”” ์ธก๋ฉด์—์„œ
10:23
melody, this word is going to be higher in pitch because that's the word I want to
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์ด ๋‹จ์–ด๋Š” ์ œ๊ฐ€ ๊ฐ•์กฐํ•˜๊ณ  ์‹ถ์€ ๋‹จ์–ด์ธ
10:27
stress - "do" "do". So I already know the ending. The beginning is a bunch of
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"do" "do"์ด๊ธฐ ๋•Œ๋ฌธ์— ์Œ์กฐ๊ฐ€ ๋†’์•„์งˆ ๊ฒƒ์ž„์„ ์••๋‹ˆ๋‹ค. ๊ทธ๋ž˜์„œ ๋‚˜๋Š” ์ด๋ฏธ ๊ฒฐ๋ง์„ ์•Œ๊ณ  ์žˆ๋‹ค . ์‹œ์ž‘์€
10:34
function words, so I'm going to reduce them. "What" turns into "wh't". "Are" turns into
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๊ธฐ๋Šฅ์–ด๊ฐ€ ์ž”๋œฉ์ด๋ผ ์ค„์ด๊ฒ ์Šต๋‹ˆ๋‹ค . "What"์€ "wh't"๋กœ ๋ฐ”๋€๋‹ˆ๋‹ค. "Are"๋Š”
10:41
"r". "You" turns into "yuh". "Going" to turns into "gunna" "gunna". So instead of saying
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"r"๋กœ ๋ฐ”๋€๋‹ˆ๋‹ค. "You"๋Š” "yuh"๋กœ ๋ฐ”๋€๋‹ˆ๋‹ค. "Going"์€ "gunna" "gunna"๋กœ ๋ฐ”๋€๋‹ˆ๋‹ค. ๊ทธ๋ž˜์„œ
10:51
"what are you going to", we say "wadaya gonna" "wadaya gonna". "Wadaya gonna do?"
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"์–ด๋–กํ•ด"๋ผ๊ณ  ๋งํ•˜๋Š” ๋Œ€์‹ ์— "์™€๋‹ค์•ผ ๊ฐ€์š”" "์™€๋‹ค์•ผ ๊ฐ€์š”"๋ผ๊ณ  ํ•ฉ๋‹ˆ๋‹ค. "์™€๋‹ค์•ผ ํ• ๋ž˜?"
11:00
"Wadaya gonna do?" "Wadaya gonna do?"
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"์™€๋‹ค์•ผ ํ• ๋ž˜?" "์™€๋‹ค์•ผ ํ• ๋ž˜?"
11:05
"Wadaya gonna do?" "Wadaya gonna do?" So the "do" is longer than the entire
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"์™€๋‹ค์•ผ ํ• ๋ž˜?" "์™€๋‹ค์•ผ ํ• ๋ž˜?" ๋”ฐ๋ผ์„œ "do"๋Š”
11:12
first part of the sentence. It's longer than the entire sentence because five
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๋ฌธ์žฅ์˜ ์ „์ฒด ์ฒซ ๋ถ€๋ถ„๋ณด๋‹ค ๊น๋‹ˆ๋‹ค. 5๊ฐœ
11:18
words versus one, one word with one syllable is longer than the first five,
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๋‹จ์–ด ๋Œ€ 1๊ฐœ, ํ•œ ์Œ์ ˆ๋กœ ๋œ ํ•œ ๋‹จ์–ด๊ฐ€ ์ฒ˜์Œ 5๊ฐœ ๋‹จ์–ด๋ณด๋‹ค ๊ธธ๊ธฐ ๋•Œ๋ฌธ์— ์ „์ฒด ๋ฌธ์žฅ๋ณด๋‹ค ๊น๋‹ˆ๋‹ค.
11:22
and this is why it's important to remember that rhythm is a result of your
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๋”ฐ๋ผ์„œ ๋ฆฌ๋“ฌ์€
11:27
message - what you're trying to say. The words that you stress are going to be
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๋ฉ”์‹œ์ง€์˜ ๊ฒฐ๊ณผ, ์ฆ‰ ๋งํ•˜๋ ค๋Š” ๋‚ด์šฉ์˜ ๊ฒฐ๊ณผ์ž„์„ ๊ธฐ์–ตํ•˜๋Š” ๊ฒƒ์ด ์ค‘์š”ํ•ฉ๋‹ˆ๋‹ค. ๋‹น์‹ ์ด ๊ฐ•์กฐํ•˜๋Š” ๋‹จ์–ด๋Š”
11:32
longer and louder and higher in pitch. The words that are less important for
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๋” ๊ธธ๊ณ  ๋” ํฌ๊ณ  ๋” ๋†’์•„์งˆ ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๋ฉ”์‹œ์ง€๋ฅผ ์ „๋‹ฌํ•˜๋Š” ๋ฐ ๋œ ์ค‘์š”ํ•œ ๋‹จ์–ด๋Š”
11:37
delivering your message are going to be reduced to allow everything else to
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๋‹ค๋ฅธ ๋ชจ๋“  ํ•ญ๋ชฉ์ด
11:43
stick out. In many languages, every syllable has the same beat. It doesn't
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๋ˆˆ์— ๋„๋„๋ก ์ถ•์†Œ๋ฉ๋‹ˆ๋‹ค. ๋งŽ์€ ์–ธ์–ด์—์„œ ๋ชจ๋“  ์Œ์ ˆ์€ ๊ฐ™์€ ๋น„ํŠธ๋ฅผ ๊ฐ€์ง‘๋‹ˆ๋‹ค.
11:49
matter if it's a content word or a function word, if it's stressed or
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๋‚ด์šฉ์–ด๋“  ๊ธฐ๋Šฅ์–ด๋“  ์ƒ๊ด€์—†์ด ๊ฐ•์„ธ๊ฐ€ ์žˆ๋“ 
11:52
unstressed, it receives the same length. So a sentence like this is going to
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์—†๋“  ๊ฐ™์€ ๊ธธ์ด๋ฅผ ๋ฐ›์Šต๋‹ˆ๋‹ค. ๋”ฐ๋ผ์„œ ์ด์™€ ๊ฐ™์€ ๋ฌธ์žฅ์€
11:58
sound something like "what are you going to do", "what are you going to do." Okay? So "do" is gonna be super short. "What" is going to have the same length.
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"๋ฌด์—‡์„ ํ•  ๊ฒƒ์ธ๊ฐ€ ", "๋ฌด์—‡์„ ํ•  ๊ฒƒ์ธ๊ฐ€"์™€ ๊ฐ™์ด ๋“ค๋ฆด ๊ฒƒ์ž…๋‹ˆ๋‹ค. ์ข‹์•„์š”? ๊ทธ๋ž˜์„œ "do"๋Š” ๋งค์šฐ ์งง์„ ๊ฒƒ์ž…๋‹ˆ๋‹ค. "๋ฌด์—‡"์€ ๊ธธ์ด๊ฐ€ ๊ฐ™์Šต๋‹ˆ๋‹ค.
12:08
"To" have the same length as "do" - "what are you going to do" - and then it's hard
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"To"๋Š” "do" - "What are you going to do" -์™€ ๊ฐ™์€ ๊ธธ์ด๋ฅผ ๊ฐ€์ง€๋ฉฐ ์—ฌ๊ธฐ์„œ
12:13
to understand what is the important part here. Okay, of course it's a simple
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์ค‘์š”ํ•œ ๋ถ€๋ถ„์ด ๋ฌด์—‡์ธ์ง€ ์ดํ•ดํ•˜๊ธฐ ์–ด๋ ต์Šต๋‹ˆ๋‹ค . ๋ฌผ๋ก  ๊ฐ„๋‹จํ•œ
12:18
sentence but if we're talking about more complex sentences and there is no
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๋ฌธ์žฅ์ด์ง€๋งŒ ๋” ๋ณต์žกํ•œ ๋ฌธ์žฅ์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐํ•˜๊ณ 
12:22
hierarchy between the words, it's really hard to get your point. "What are you
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๋‹จ์–ด ์‚ฌ์ด์— ๊ณ„์ธต ๊ตฌ์กฐ๊ฐ€ ์—†๋‹ค๋ฉด ์š”์ ์„ ํŒŒ์•…ํ•˜๊ธฐ๊ฐ€ ์ •๋ง ์–ด๋ ต์Šต๋‹ˆ๋‹ค. "
12:27
gonna do" "what are you gonna do" "what are you going to do" "what are you gonna do".
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์–ด๋–กํ•ด" "์–ด๋–กํ•ด" "์–ด๋–กํ•ด" "์–ด๋–กํ•ด" ์—ฌ๋Ÿฌ ๋‚ด์šฉ์–ด๊ฐ€
12:33
Let's take a look at a sentence with several content words: There are three
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ํฌํ•จ๋œ ๋ฌธ์žฅ์„ ์‚ดํŽด๋ณด๊ฒ ์Šต๋‹ˆ๋‹ค .
12:39
coins in the box. "There are three coins in the box" Here, I chose to stress "coins"
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์ƒ์ž์— ์„ธ ๊ฐœ์˜ ๋™์ „์ด ์žˆ์Šต๋‹ˆ๋‹ค. "์ƒ์ž์— ์„ธ ๊ฐœ์˜ ๋™์ „์ด ์žˆ์Šต๋‹ˆ๋‹ค ." ์—ฌ๊ธฐ์„œ๋Š” "๋™์ „"
12:44
and "box", so these words are high in pitch. "There are three COINS in the BOX." "There are"
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๊ณผ "์ƒ์ž"๋ฅผ ๊ฐ•์กฐํ•˜๊ธฐ๋กœ ์„ ํƒํ–ˆ๊ธฐ ๋•Œ๋ฌธ์— ์ด ๋‹จ์–ด์˜ ์Œ์กฐ๊ฐ€ ๋†’์Šต๋‹ˆ๋‹ค. "BOX์— 3๊ฐœ์˜ COINS๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค." "์žˆ๋‹ค" "
12:50
"there are" "there are" - that's reduced - "there'r three coins in the box."
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์žˆ๋‹ค" "์žˆ๋‹ค" - ์ค„์ธ ๋ง - "์ƒ์ž ์•ˆ์— ์„ธ ๊ฐœ์˜ ๋™์ „์ด ์žˆ์Šต๋‹ˆ๋‹ค."
12:56
"N-thuh" "N-thuh" "N-thuh" - also reduced. "There are three coins in the box." I can also say "There
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"N-thuh" "N-thuh" "N-thuh"-๋˜ํ•œ ์ค„์˜€์Šต๋‹ˆ๋‹ค. "์ƒ์ž ์•ˆ์— 3๊ฐœ์˜ ๋™์ „์ด ์žˆ์Šต๋‹ˆ๋‹ค." ๋‚˜๋Š” ๋˜ํ•œ "
13:02
are THREE coins in the box." And when you hear that you know that maybe someone
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์ƒ์ž์— 3๊ฐœ์˜ ๋™์ „์ด ์žˆ์Šต๋‹ˆ๋‹ค."๋ผ๊ณ  ๋งํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋ฆฌ๊ณ 
13:07
else thinks that there are five coins. No, there are three coins in the box. Why are
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๋‹ค๋ฅธ ์‚ฌ๋žŒ์ด ๋‹ค์„ฏ ๊ฐœ์˜ ๋™์ „์ด ์žˆ๋‹ค๊ณ  ์ƒ๊ฐํ•  ์ˆ˜๋„ ์žˆ๋‹ค๋Š” ๊ฒƒ์„ ์•Œ๊ณ  ์žˆ๋‹ค๋Š” ๋ง์„ ๋“ค์—ˆ์„ ๋•Œ. ์•„๋‹ˆ์š”, ์ƒ์ž์— ๋™์ „ ์„ธ ๊ฐœ๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค. ์™œ
13:12
you confusing me? There are three coins. Why did you say there were
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๋‚  ํ—ท๊ฐˆ๋ฆฌ๊ฒŒ ํ•ด? ์„ธ ๊ฐœ์˜ ๋™์ „์ด ์žˆ์Šต๋‹ˆ๋‹ค. ์™œ
13:15
five? Okay, so it's the same sentence but stressing a different word means
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5๊ฐœ๋ผ๊ณ  ํ–ˆ์ง€? ์ข‹์•„์š”, ๊ฐ™์€ ๋ฌธ์žฅ์ด์ง€๋งŒ ๋‹ค๋ฅธ ๋‹จ์–ด๋ฅผ ๊ฐ•์กฐํ•˜๋Š” ๊ฒƒ์€
13:21
something slightly different. Now, I want you to listen up here, and this is really
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์•ฝ๊ฐ„ ๋‹ค๋ฅธ ๊ฒƒ์„ ์˜๋ฏธํ•ฉ๋‹ˆ๋‹ค. ์ž, ์—ฌ๋Ÿฌ๋ถ„์ด ์—ฌ๊ธฐ์„œ ๋“ค์œผ์‹œ๊ธฐ ๋ฐ”๋ž๋‹ˆ๋‹ค. ์ด๊ฒƒ์€ ์ •๋ง
13:25
important. When we speak with a foreign accent, what we do is we apply patterns
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์ค‘์š”ํ•ฉ๋‹ˆ๋‹ค. ์šฐ๋ฆฌ๊ฐ€ ์™ธ๊ตญ ์–ต์–‘์œผ๋กœ ๋งํ•  ๋•Œ ์šฐ๋ฆฌ๊ฐ€ ํ•˜๋Š” ์ผ์€
13:30
that we know from our native tongue on to English. We don't do it consciously, its
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๋ชจ๊ตญ์–ด์—์„œ ์•Œ๊ณ  ์žˆ๋Š” ํŒจํ„ด์„ ์˜์–ด์— ์ ์šฉํ•˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค. ์šฐ๋ฆฌ๋Š” ๊ทธ๊ฒƒ์„ ์˜์‹์ ์œผ๋กœ ํ•˜๋Š” ๊ฒƒ์ด ์•„๋‹ˆ๋ผ
13:35
just that's what comes out organically. Now if we do that, if the patterns of our
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์œ ๊ธฐ์ ์œผ๋กœ ๋‚˜์˜ค๋Š” ๊ฒƒ๋ฟ์ž…๋‹ˆ๋‹ค. ์ด์ œ ๊ทธ๋ ‡๊ฒŒ ํ•˜๋ฉด ๋ชจ๊ตญ์–ด์˜ ํŒจํ„ด์ด
13:41
native tongue are different from English and sometimes contradictory to the
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์˜์–ด์™€ ๋‹ค๋ฅด๊ณ  ๋•Œ๋กœ๋Š”
13:46
patterns of English, the result is that the stress is not going to be clear. The
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์˜์–ด์˜ ํŒจํ„ด๊ณผ ๋ชจ์ˆœ๋˜๋Š” ๊ฒฝ์šฐ ๊ฒฐ๊ณผ์ ์œผ๋กœ ๊ฐ•์„ธ๊ฐ€ ๋ช…ํ™•ํ•˜์ง€ ์•Š๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
13:51
message is not going to be clear, because if you're applying external intonation
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๋ฉ”์‹œ์ง€๋Š” ๋ช…ํ™•ํ•˜์ง€ ์•Š์„ ๊ฒƒ์ž…๋‹ˆ๋‹ค. ์™ธ๋ถ€ ์–ต์–‘์„ ์ ์šฉํ•˜๊ณ 
13:56
and stressing things, let's say at the beginning rather than the end, and in
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๋ฌด์–ธ๊ฐ€๋ฅผ ๊ฐ•์กฐํ•˜๋Š” ๊ฒฝ์šฐ ๋์ด ์•„๋‹Œ ์ฒ˜์Œ์— ๋งํ•˜๊ณ 
14:00
English you want to stress the ending usually, then what happens is that you
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์˜์–ด๋กœ ์ผ๋ฐ˜์ ์œผ๋กœ ๋์„ ๊ฐ•์กฐํ•˜๋ ค๋Š” ๊ฒฝ์šฐ ๋ฐœ์ƒํ•˜๋Š” ์ผ์€
14:04
end up stressing the wrong words. although you know how to construct the
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๋๋‚ฉ๋‹ˆ๋‹ค. ์ž˜๋ชป๋œ ๋‹จ์–ด๋ฅผ ๊ฐ•์กฐํ•ฉ๋‹ˆ๋‹ค. ๋ฌธ์žฅ์„ ๊ตฌ์„ฑํ•˜๋Š” ๋ฐฉ๋ฒ•์„ ์•Œ๊ณ  ์žˆ์ง€๋งŒ
14:09
sentence,, the words are accurate, you don't make any grammar mistakes. But if
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๋‹จ์–ด๊ฐ€ ์ •ํ™•ํ•˜๊ณ  ๋ฌธ๋ฒ• ์˜ค๋ฅ˜๊ฐ€ ์—†์Šต๋‹ˆ๋‹ค. ํ•˜์ง€๋งŒ
14:13
you don't distinguish the right words, if you don't stress the right words, if you
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์˜ฌ๋ฐ”๋ฅธ ๋‹จ์–ด๋ฅผ ๊ตฌ๋ณ„ํ•˜์ง€ ์•Š์œผ๋ฉด ์˜ฌ๋ฐ”๋ฅธ ๋‹จ์–ด๋ฅผ ๊ฐ•์กฐํ•˜์ง€ ์•Š์œผ๋ฉด ๊ฐ•์กฐ๋˜๋Š”
14:17
don't put the emphasis on the words that are stressed then you become unclear
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๋‹จ์–ด์— ๊ฐ•์กฐ๋ฅผ ๋‘์ง€ ์•Š์œผ๋ฉด ๋ช…ํ™• ํ•˜์ง€ ์•Š๊ฒŒ ๋˜๊ณ 
14:22
then people may get something that is a little different from what you mean. So
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์‚ฌ๋žŒ๋“ค์€ ์•ฝ๊ฐ„ ๋‹ค๋ฅธ ๊ฒƒ์„ ์–ป์„ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค. ๋ฌด์Šจ ๋ง์ธ์ง€. ๊ทธ๋ž˜์„œ
14:28
understanding that, recognizing your patterns, and listening to how native
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๊ทธ๊ฒƒ์„ ์ดํ•ดํ•˜๊ณ , ๋‹น์‹ ์˜ ํŒจํ„ด์„ ์ธ์‹ํ•˜๊ณ , ์›์–ด๋ฏผ
14:34
speakers speak, really helps you understand how English should be spoken
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์ด ๋งํ•˜๋Š” ๋ฐฉ์‹์„ ๋“ฃ๋Š” ๊ฒƒ์€ ์˜์–ด๊ฐ€ ์–ด๋–ป๊ฒŒ ๋งํ•ด์•ผ ํ•˜๋Š”์ง€ ์ดํ•ดํ•˜๋Š” ๋ฐ ์ •๋ง ๋„์›€์ด ๋˜๋ฉฐ,
14:38
and advances you in becoming a stronger, a more confident and a clearer speaker.
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๋‹น์‹ ์„ ๋” ๊ฐ•ํ•˜๊ณ , ๋” ์ž์‹ ๊ฐ ์žˆ๊ณ , ๋” ๋ช…ํ™•ํ•œ ํ™”์ž๋กœ ๋งŒ๋“œ๋Š” ๋ฐ ๋„์›€์ด ๋ฉ๋‹ˆ๋‹ค.
14:45
Now I want to ask you - what, from everything that I discussed today, melody,
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์ด์ œ ์ €๋Š” ์—ฌ๋Ÿฌ๋ถ„์—๊ฒŒ ๋ฌป๊ณ  ์‹ถ์Šต๋‹ˆ๋‹ค. ์˜ค๋Š˜ ์ œ๊ฐ€ ๋…ผ์˜ํ•œ ๋ชจ๋“  ๊ฒƒ ์ค‘์—์„œ ๋ฉœ๋กœ๋””,
14:51
rhythm, stress, is the most challenging for you? What are you still struggling
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๋ฆฌ๋“ฌ, ์ŠคํŠธ๋ ˆ์Šค ์ค‘์—์„œ ์—ฌ๋Ÿฌ๋ถ„์—๊ฒŒ ๊ฐ€์žฅ ํž˜๋“  ๊ฒƒ์€ ๋ฌด์—‡์ž…๋‹ˆ๊นŒ? ๋‹น์‹ ์€ ๋ฌด์—‡์„ ์•„์ง๋„ ๊ณ ๊ตฐ๋ถ„ํˆฌํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๊นŒ
14:56
with? Please let me know in the comments below and don't forget to tell me where
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? ์•„๋ž˜ ๋Œ“๊ธ€๋กœ ์ €์—๊ฒŒ ์•Œ๋ ค์ฃผ์‹œ๊ณ 
15:00
you're from and what is your native tongue and I
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์ถœ์‹  ๊ตญ๊ฐ€ ์™€ ๋ชจ๊ตญ์–ด๊ฐ€ ๋ฌด์—‡์ธ์ง€ ์•Œ๋ ค์ฃผ๋Š” ๊ฒƒ์„ ์žŠ์ง€ ๋งˆ์„ธ์š”.
15:03
will do my best to create more content and lessons that will help you resolve
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์ตœ์„ ์„ ๋‹คํ•ด ์—ฌ๋Ÿฌ๋ถ„์ด ๊ฒช๊ณ  ์žˆ๋Š” ๋ชจ๋“  ๋ฌธ์ œ๋ฅผ ํ•ด๊ฒฐํ•˜๋Š” ๋ฐ ๋„์›€์ด ๋˜๋Š” ๋” ๋งŽ์€ ์ฝ˜ํ…์ธ ์™€ ๊ฐ•์˜๋ฅผ ๋งŒ๋“ค๊ฒ ์Šต๋‹ˆ๋‹ค.
15:07
all the issues that you're facing. Thank you so much for watching. Please share
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๋‹ค์‹œ ์ง๋ฉด. ์‹œ์ฒญํ•ด์ฃผ์…”์„œ ๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
15:12
the video with your friends if you liked it and you think that they may benefit
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๋น„๋””์˜ค๊ฐ€ ๋งˆ์Œ์— ๋“ค๊ณ  ์นœ๊ตฌ๋“ค์ด ํ˜œํƒ์„ ๋ฐ›์„ ์ˆ˜ ์žˆ๋‹ค๊ณ  ์ƒ๊ฐ๋˜๋ฉด ์นœ๊ตฌ๋“ค๊ณผ ๋น„๋””์˜ค๋ฅผ ๊ณต์œ ํ•˜์‹ญ์‹œ์˜ค
15:16
from it. And don't forget to subscribe to my YouTube channel and click on the bell
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. ๊ทธ๋ฆฌ๊ณ  ๋‚ด YouTube ์ฑ„๋„์„ ๊ตฌ๋…ํ•˜๊ณ 
15:20
to get notifications so you know when I'm releasing
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์•Œ๋ฆผ์„ ๋ฐ›์œผ๋ ค๋ฉด ๋ฒจ์„ ํด๋ฆญํ•˜์—ฌ ๋‚ด๊ฐ€ ์ƒˆ ๋น„๋””์˜ค๋ฅผ ๊ณต๊ฐœํ•  ๋•Œ ์•Œ ์ˆ˜ ์žˆ๋„๋ก ํ•˜๋Š” ๊ฒƒ์„ ์žŠ์ง€ ๋งˆ์‹ญ์‹œ์˜ค
15:23
a new video. Have a wonderful week and I will see you next week in the next video.
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. ์ฆ๊ฑฐ์šด ํ•œ์ฃผ ๋ณด๋‚ด์‹œ๊ณ  ๋‹ค์Œ์ฃผ์— ๋‹ค์Œ ์˜์ƒ์œผ๋กœ ๋ต™๊ฒ ์Šต๋‹ˆ๋‹ค.
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

์ด ์‚ฌ์ดํŠธ๋Š” ์˜์–ด ํ•™์Šต์— ์œ ์šฉํ•œ YouTube ๋™์˜์ƒ์„ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์ตœ๊ณ ์˜ ์„ ์ƒ๋‹˜๋“ค์ด ๊ฐ€๋ฅด์น˜๋Š” ์˜์–ด ์ˆ˜์—…์„ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ฐ ๋™์˜์ƒ ํŽ˜์ด์ง€์— ํ‘œ์‹œ๋˜๋Š” ์˜์–ด ์ž๋ง‰์„ ๋”๋ธ” ํด๋ฆญํ•˜๋ฉด ๊ทธ๊ณณ์—์„œ ๋™์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋น„๋””์˜ค ์žฌ์ƒ์— ๋งž์ถฐ ์ž๋ง‰์ด ์Šคํฌ๋กค๋ฉ๋‹ˆ๋‹ค. ์˜๊ฒฌ์ด๋‚˜ ์š”์ฒญ์ด ์žˆ๋Š” ๊ฒฝ์šฐ ์ด ๋ฌธ์˜ ์–‘์‹์„ ์‚ฌ์šฉํ•˜์—ฌ ๋ฌธ์˜ํ•˜์‹ญ์‹œ์˜ค.

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