English Training Lesson | Understand English Effortlessly—How to Learn English with Movies and TV

263,030 views ・ 2020-06-30

Rachel's English


Please double-click on the English subtitles below to play the video.

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Today you're transforming your spoken English by studying a scene from the movie, First Man, with me.
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This is the story of Neil Armstrong, and the thing I love about this,
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he's in an interview and he speaks very thoughtfully, very intentionally. We're going to go in-depth,
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studying how he expresses himself, and we're also going to study how the melody of a sentence can
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change the meaning. When you study scene the way we're going to in this video, you'll be
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able to understand American movies and TV effortlessly without subtitles.
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Does anyone have anything else?
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We're going to be doing this all summer, June through August, stick with me every Tuesday,
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they're all great scenes and there's going to be so much to learn that can transform the way
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you speak and understand English.
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And as always, if you liked this video or you learn something please, like and subscribe with notifications.
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You're going to watch the clip, then we're going to do a full pronunciation analysis together.
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This is going to help so much with your listening comprehension when it comes
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to watching English movies in TV. But there's going to be a training section.
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You're going to take what you've just learned and practice repeating it, doing a reduction, flapping a T,
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just like you learned in the analysis. Ok, here's the scene.
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I don't know what space exploration will uncover, but
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I don't think it will be exploration just for the sake of exploration.
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Does anyone have anything else?
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Yeah. You know, I was sorry to hear about your daughter.
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Do you think it will have an effect?
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I think it would be unreasonable to assume that it wouldn't have some effect.
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And now, the analysis.
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I don't know what space exploration will uncover, but I don't think it will be
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exploration just for the sake of exploration.
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So he has a pretty long sentence here, but he breaks it up into a lot of smaller thought groups. The first one
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is after the word what, he pauses, let's look at these first four words.
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I don't know what,
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It's a little bit unclear, isn't it? It certainly doesn't sound like: I don't know what.
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I don't know what,
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I don't know what. Uhhh. It's just one big phrase with one peak. I don't know what. Uhhh.
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And everything glides together really smoothly. I don't know.
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So the T is dropped, and these two words connect with a single N sound. K of course is silent in this word. I don't know what.
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I don't know what,
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And the OH diphthong in don't, OH
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changes here to the UH, that's somewhat common in the phrase: I don't know, becomes: don't know.
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I don't know, I don't know, I don't know.
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I don't know,
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So I would actually write this: doh know, with stress on know. I don't know. I don't know.
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And because of the AI diphthong before, this D is just a flap, dadadadada.
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I don't know what. I don't know what.
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I don't know what,
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What, the vowel on what, what, what, what, what, what. To me, he's darkened it a little bit. It's not quite uh,
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uh, uh, it's almost a little bit like push.
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What..
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I don't know what, what, uhuhuh.
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Definitely he does a stop T at the end there, because it's a T at the end of a thought group,
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and he does pronounce the word what, without that wh sound in front.
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So WH words can be pronounced with the pure W, or with a what, escape of air before.
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He does not do that escape of air.
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What, what, what.
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What..
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I don't know what.
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I don't know what.
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space exploration will.
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Space exploration will,
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and then a little bit of a pause here as he continues to think about how to articulate his answer.
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So let's look at these three words and is there just one peak of stress like I don't know what?
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Or do we have more than one feeling of an up-down shape?
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Space exploration will,
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Space exploration. I feel two stressed syllables there.
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Space exploration will.
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Space and ay, the AY diphthong here in exploration, TION is the SH, shwa N ending.
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Tion tion tion, space exploration. We have an ending S in space, and ending S sound,
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and it links right into the beginning vowel of the next word, EH, space eh, seh, seh, sexploration.
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Space exploration,
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So there's no break in sound there. Everything connects really smoothly.
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Space exploration..
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will.
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Exploration will. Will, And then he holds this out a little bit while he's thinking.
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Will, doesn't reduce the vowel. Sometimes, we do, sometimes, we might say: space exploration will,
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will, will, but he doesn't do that, he keeps the IH vowel. Space exploration will.
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Space exploration will,
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uncover but.
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Uncover but, he does a little break here, he makes a stop T, he does not connect it to the AI diphthong,
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that would be: but I, but I, and that would be pretty common to connect, but he is breaking this up a lot,
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and so he breaks it up here. He is speaking slowly, intentionally. Uncover but.
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Uncover but,
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What's our stressed syllable there?
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Uncover but,
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Uncover but.
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Just one, and it's uncov, uncover. So we have the letter O but it's the UH as in butter vowel.
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There's no lip rounding for that. Uncover. Cover. Just like in the word love, ove, ove, cove, cover, uncover but.
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Stop T.
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Uncover but,
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I don't think it will be.
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I don't think it'll be, and then he holds out the EE vowel a little bit here at the end of 'be', while he's thinking.
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I don't think it will be.
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I don't think it will be.
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I don't think it will be. Don't and be both have that uhhhhh, up-down shape.
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And then we have, we have a really beautiful rhythm here. Dadadadada, dadadadadada,
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I is shorter, think it will, shorter, actually 'it will' is contracted, it's not it will, but it's it'll, it'll,
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so I would write that with the IH vowel, flap T, schwa L. It'll, It'll,It'll, It'll, It'll, It'll, It'll, It'll,
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just like the word little, but without the L. It'll, It'll, It'll. I don't think it'll.
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I don't think it'll.
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I don't think it'll be.
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I don't think it'll be.
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Now here, ourN apostrophe T in don't.
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The word don't just pronounced quite differently than it was the first time he said it.
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We actually have a stop. So we do feel that as a T. I don't think. I don't think.
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It's not dropped. That would be: I don't think, I don't think,
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but it's: I don't think-- up that little break of air, that little stop, is the stop T.
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Now what about this sound? Is it the OH diphthong? Or is it the UH vowel like in don't know?
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I don't think.
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I don't think. I don't, don't, don't, don't. Oh, oh, oh, oh.
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I definitely hear that as the Oh diphthong. Not reduced. So the first time he said it, the diphthong changed,
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and the T was dropped. Here, the diphthong doesn't change, and the T is a stop T.
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I don't think.
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Notice here the stress was, the peak of stress was on the word know,
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so it makes sense that some of those sounds changed, that that word was reduced a little bit.
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Here, it's stressed, so it makes sense that we wouldn't reduce the vowel,
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or the diphthong, rather and that we would leave the T on as a stop T.
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I don't think it'll be.
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I don't think it'll be.
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And these three unstressed words said so quickly. Let's hear just those words.
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Think it'll,
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be.
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Think it'll be. Think it'll be.
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Really different than the word be, which is longer, more stressed.
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Think it'll be.
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exploration just.
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Exploration.
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This is a three syllable word, again with, sorry, four syllable word, with stress on the third syllable.
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Exploration.
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Now this unstressed syllable is actually supposed to be a schwa R.
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Explora, he does a little bit more of a vowel. Explore, plore, plore.
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And I think that's because it's related to the other form of the word,
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so we have the verb: to explore,
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and then we have the noun: exploration.
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Verb, noun. So in the verb Explore, the IPA would be Ek, the letter X makes the KS sounds here,
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Explore,
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and in the noun, exploration, actually the opening vowel is a little bit more open, it's EH,
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although honestly, if you said the verb
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explore with the EH vowel, that would sound very natural and normal too.
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Then we have another unstressed syllable. Splo-- with the schwa, stressed syllable,
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Oops. We make that over here.
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AY, and then unstressed, tion. So the noun, exploration.
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Has a schwa here, I hear him doing more of an unstressed AA plus R, that's okay.
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Exploration.
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So he's seeing more of exploration, explore, explore, explore, exploration.
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Exploration,
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He is speaking more slowly and more intentionally I think than what is normal conversational English.
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And even though that pronunciation isn't what you'll see in the dictionary,
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it makes a lot of sense because of the verb.
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Exploration--
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Notice how on this stressed syllable, he nods his head. It's not uncommon as you study speakers to see
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that they do a physical gesture sometimes on a stressed syllable.
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When you're practicing with the audio later in this video, do that too. Do your head like he does.
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Exploration,
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just for the sake of exploration.
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Just for the sake, some up down stress there. Sake of exploration. And again,
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stress on that third syllable.
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Just for the sake of exploration,
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You're going to get really comfortable with the word exploration, aren't you?
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He says it's three times in this opening phrase.
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Now, between our stressed words exploration, and sake, we have three unstressed words, and then also,
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the unstressed syllable here, tion just for the, and I want to look at this. He really holds out the S
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while he's still thinking being thoughtful, speaking slowly, even so, he drops the T.
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Just for the sake,
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And that's because it's just so common to drop the T when the next word begins with a consonant.
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Just for the, for the,
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and it's not for, is it? It's fer, fer, fer, schwa R. Fer, just fer the.
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Just for the,
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sake of exploration.
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Just for the sake of exploration.
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Now we have another unstressed syllable here 'of', an unstressed word.
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Schwa V, you can drop that V, but I definitely hear him saying it.
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Sake of exploration.
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It's weak, and it's subtle, but I don't sense that it's: sake uh.
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I sense that its: sake of, sake of exploration.
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Sake of exploration,
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So we have after the stressed syllables sake, we have three unstressed syllables in a row.
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Of explo-- of explo-- of explo-- of explo--
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And you got to try to keep your mouth really relaxed,
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keep your movements released simple, and minimal in these unstressed syllables.
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Of explo-- of exploration.
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Of exploration,
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Of exploration. And then let your mouth come more to life in the stressed syllable,
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more jaw drop therefore the AY diphthong, explo-- explo-- exploration, exploration.
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Of exploration,
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Does anyone have anything else?
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Yeah.
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So one of the men interviewing him asks the panel a question.
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What is the shape of stress here? What are the most stressed syllables?
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Does anyone have anything else?
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Does anyone have anything else?
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Does anyone have anything else?
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Does anyone, anyone, have anything else?
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I hear those as being the most stressed syllables, and the pitch goes up because it's a yes/no question.
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Let's look at how he pronounces this first word does.
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Does anyone,
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In IPA, that would be written with the D, UH as in butter and Z.
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But he drops the first two sounds. Does anyone, Does anyone, Does anyone.
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And just links the Z into the EH as in bed vowel, which is the first sound of the word anyone,
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Does anyone, Does anyone, Does anyone?
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Does anyone,
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It's not uncommon to do that. Have you ever heard anyone take 'does that' and change it to 'zzaat?'
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I have heard people do that. It's like they drop the first two sounds of does,
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the first sound of that, and in IPA it becomes: zzaat, zzaat, zzaat, zzaat.
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Does that mean you're going to be late? Does that , Does that , Does that?
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It's funny how we make these reductions, isn't it? So here he's taking the word does,
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he's reduced it to the Z sound, and he's attached it to the word that comes after anyone.
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Does anyone? Does anyone?
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Does anyone,
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have anything else?
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Everything just links together so smoothly, doesn't it?
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Does anyone have anything else?
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Does anyone have anything else?
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I want to talk about the word else. In IPA, it's written EH as in bed, LS,
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else, so the L is a dark L because it comes after the vowel in the syllable. This is a one syllable word.
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El? So we make that dark sound with the back of the tongue and I'm not lifting my tongue tip.
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Ell, uhl, uhl, uhl, uhl, uhlse.
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So don't lift your tongue tip for that L, it will get in the way, it's an extra movement,
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it will probably make the dark sound less clear.
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So you do the EH vowel, then you take the back of your tongue, you pull it back and down a little bit, uhl, uhl,
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ell-- and that's it, don't lift your tongue tip, go right into the S.
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Else?
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Yeah.
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And then we hear really quietly: yeah. Yeah. Yeah. Yeah. Yeah.
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Up-down shape. Not much of vocal energy. Yeah.
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Yeah.
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You know, I was sorry to hear about your daughter.
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Okay, one thought group. Every word linked together. No stops. What are our peaks of stress?
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You know, I was sorry to hear about your daughter.
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You know, I was sorry to hear about your daughter.
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You know, I was sorry to hear about your daughter.
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You know, I was sorry to hear about your daughter.
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Okay, now I have to talk about this. When I first wrote the transcript for this, I used this word.
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You know, I was sorry to hear about your daughter.
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Then when I listened to it again, I thought it sounded more like this:
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You know, I was sorry to hear about your daughter.
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And now that I'm listening to it a third time, I think it sounds like Neil again.
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And it's just, it's crazy to me that I'm having a hard time telling the difference here.
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Because these words are so different.
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We have Neil, which I would probably write with the schwa L. Neil. And then,
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you know, which I would write: yuh know. I mean talk about different sounds.
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Neil. You know. Neil. You know. If I'm saying them more clearly, it's obvious, but he's
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using less vocal energy, and it's just less clear.
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You know, I was sorry to hear about your daughter.
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And so I'm actually having a hard time deciding. I think probably this is what he is saying,
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but it also sounds just like this, and this is just what's so crazy about American English,
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is they just, when something is unclear, the sounds become more neutral.
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And usually in context, we can understand exactly what's being said.
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But here, there's no context, really for this utterance.
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And either one of these would make sense to say before a comment. Either you know, or the person's name Neil,
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so we'll keep going with this phrase, though I now think it's probably this phrase.
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You know, I was sorry to hear about your daughter.
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You know, I was sorry to hear about your daughter.
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Know, sorr, hear, daugh-- All the most stressed peaks there.
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There's a lot of interesting stuff going on with the unstressed words though.
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And everything links together so smoothly. Uuuhhhhhh.
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You know, I was sorry to hear about your daughter.
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21:13
You know, I was sorry to hear about your daughter.
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You know, I was sorry to hear about your daughter.
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No abrupt changes in pitch there. Everything links together. When you're working with the audio,
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do it in slow motion. Really feel that up/down smooth transition in pitch. Continuous flow of air and sound.
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You know, I was sorry to hear about your daughter.
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You know, I was sorry to hear about your daughter.
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You know, I was sorry to hear about your daughter.
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You know, You know, You know. The word 'you' is reduced. It's just yuh. You know, you know, you know.
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You know,
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I was sorry to hear about your daughter.
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You know I was. Okay, AI diphthong. We have the OH diphthong in no,
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and when we have an OH diphthong that links into a word, that begins with a vowel or diphthong,
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we can feel like we go through the glide consonant W to help us link. Wii, wii, know I, know I was, knowwww-I was.
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That might help you smoothly link those two words know and I.
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The word was, I would write that with the schwa, it's unstressed. I was, I was, I was.
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You know, I was.
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And actually even though the word was has a Z sound,
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when ending Z links into beginning S we drop the Z and the S takes over.
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I was sorry. So you don't try to make a Z and then an S. Just one S sound.
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I was sorry. I wa, I wa, I wa, I was sorry.
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I was sorry..
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to hear about your daughter.
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Sorry to, two unstressed syllables. Ry, to, and that word 'to' is pronounced with a flap T, and the schwa.
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Rarara, sorry to, sorry to, sorry to hear.
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Sorry to hear..
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about your daughter.
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Hear about your, quick ,subtle stop T there. The word your, isn't your, it's your, about your, about your,
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about your, about your daughter.
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About your daughter.
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And of course a flap T in daughter. Now the T is a flap T when it comes to between two vowels.
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Well but H isn't a vowel, but we don't mean letters, we mean sounds.
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And AUGH here all make a single sound,
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AW as in law, that is a vowel. So the T here does come between two vowels.
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The AW and the schwa. Daughter. Daughter. Daughter.
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So it's just a single, quick flap of the tongue.
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Daughter.
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Do you think it will have an effect?
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Do you think it, think it. He holds out it a little bit more, while he's thinking about what exactly to say.
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Almost the idea of a break there. Do you think it.
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Do you think it,
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Do you, not reduced, but unstressed. Do you, do you, do you, do you, do you think it.
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Do you think it,
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will have an effect?
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Will have, stress there, will have an effect.
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Okay, a couple things here. Earlier, we talked about how the word 'will' can reduce.
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The first character didn't do it, this character is, it's not will, its wuhl, wuhl, wuhl, wuhl have, wuhl have.
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Listen to just those two words.
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Will have an--
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effect.
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Will have an effect.
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So the letter A, a schwa, the letter E here in the unstressed syllable, a schwa,
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an uh, an uh, an uh, an effect.
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Will have an effect.
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Okay, now the pitch goes down. This is a yes/no question.
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Yes/no questions almost always go up in pitch. Why doesn't this one?
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He really says a lot with his intonation here. If the pitch had gone up, do you think it will have an effect?
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That makes it a true yes/no question, he's asking. But by putting this question with the pitch going down,
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he's saying it as a statement, as if he thinks it will have an effect. He is giving his opinion
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even as he asks this question by his intonation. Do you think it will have an effect?
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By making it go down shows the assumption, he's presenting it as a statement, not really as a question.
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So that's an interesting thing I think to do with intonation.
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Ask a yes/no question with a pitch going down, and it makes it sound like you're not really asking,
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you're stating something but it's not as strong, it's a little sly, to put it in the form of a question,
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when your intonation goes down,
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and it's like you're going to give your opinion even as you ask this person his opinion.
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Will have an effect.
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I think it would be...
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And again he breaks it up with some long pauses, a long pause here, breaks us up into two thought groups.
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I think it would be,
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I think it would be. Uuhhhhh. Our stress, our up-down shape on think and be.
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I think it would be.
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It would, it would, I, I. These other words all a little flatter in pitch, said more quickly. It would, it would, it would.
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There's a stop T there in it because the next word begins with the constant.
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Remember, the L is always silent in should, would, could.
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It would, it would, it would be, it would be. The D here, not released. It would be. It would be.
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That makes too much of it. So he puts his tongue into position for D, dddd, his vocal cords vibrate,
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but then he doesn't release the sound, he just goes right into the B. It would be, it would be, it would be.
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It would be,
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It's a really common pronunciation of the D.
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When the next word begins with a consonant, that's probably how we're gonna do it.
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We're going to vibrate the vocal cords, make a D, but not just release it with air,
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we're going to go on to the next sound.
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It would be,
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unreasonable to assume that it wouldn't have some effect.
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And we have quite a few words here with an up-down shape. Quite a few syllables.
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Unreasonable to start, unreasonable to assume that it wouldn't have some effect.
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Unreasonable to assume that it wouldn't have some effect.
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Unreasonable to assume that it wouldn't have some effect.
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Unreasonable to assume that it wouldn't have some effect.
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Let's look at the word 'to' how is that pronounced?
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Unreasonable to assume, unreasonable to assume, unreasonable to assume.
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It's actually fully pronounced. It's unstressed, but it's got a true T, and the OO vowel, that almost never happens.
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The reason why it happened here is because the next word begins with a schwa.
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So if we reduced this to the schwa, then there would be no way to tell the difference between syllables.
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So when the next word begins with a schwa, to does not have a reduced vowel. To assume, to assume.
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To assume,
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It still has an unstressed feel though, it's still lower in pitch. Reasonable to. Reasonable to assume.
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So it's still in that line of that unstressed feeling, but it's not reduced.
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Unreasonable to assume,
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that it wouldn't have some effect.
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That it, that it, that it, that it, that it wouldn't, that it wouldn't.
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Two more unstressed words then between the stressed syllable ssume and would.
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They link together with a flap T. That it. And then there's a stop T because the next word begins with a consonant.
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That it, that it, that it, that it, that it wouldn't.
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That it wouldn't have,
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Wouldn't have. Alright let's look at our an apostrophe T contraction here.
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So we've studied it in the word don't twice. The first time it was dropped, the second time it was a stop T,
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how is the T pronounced here?
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Wouldn't have,
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I hear it as dropped. I hear that he's going right from the N into the H: wouldn't have, wouldn't have, wouldn't have.
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With no stop or lift which would signify the stop T.
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Wouldn't have, wouldn't have some effect.
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Wouldn't have
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some effect.
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Wouldn't have some effect. Wouldn't have some effect. Wouldn't have some effect.
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Ending M links into the schwa. Effect. Effect. Some effect. And a light release of the T here.
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When the T is in an ending cluster like CT, and there's no word after,
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it's pretty common to do a light release of a true T. Wouldn't have some effect.
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Wouldn't have some effect. .
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Awesome. Okay, let's take a look at this whole conversation one more time.
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I don't know what space exploration will uncover
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but I don't think it'll be exploration just for the sake of exploration.
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Does anyone have anything else?
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Yeah. You know, I was sorry to hear about your daughter.
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Do you think it will have an effect?
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I think it would be unreasonable to assume that it wouldn't have some effect.
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Now for the fun part, you’ll look at the notes we took together
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and you’ll hear a part of the conversation on a loop three times.
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Then there’s a space for you to repeat.
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For example, you’ll hear this:
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Maybe so, sir.
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Then you’ll repeat it: maybe so, sir. Try to imitate everything about this exactly so when you see this,
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then you’ll repeat it. Maybe so, sir.
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That’s from Top Gun: Maverick which was the first movie we studied in this summer series.
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You’ll also have the opportunity to listen and repeat in slow motion.
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This will be important for you if you’re more of a beginner,
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or if you’re having a hard time focusing on linking or the melody.
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Maybe you’ll want to do it both ways, but the important thing is here is your opportunity
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to take what you learned and put it into your body and your own habit.
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That’s what’s going to transform your speaking.
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You might do well to work with the audio section of this video every day for a week.
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Imitating the rhythm and the simplifications will get easier each time you do it.
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If you can’t keep up with the native speaker, do the slow-motion imitation.
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Okay, here’s our audio training section.
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Don’t forget to come back and do this audio again tomorrow and the next day.
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You want to build habits here, so you don’t need to think about it so much when you’re speaking in conversation,
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you can focus on the words and not the expression or pronunciation.
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Don’t forget, this is part of a series, all summer long, 13 videos, 13 scenes for movies, check out each one,
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learn something new each time.
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I make new videos on the English language every Tuesday and I’d love to have you back here again.
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Please subscribe with notifications and continue your studies right now with this video.
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And if you love this video, share it with a friend.
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That’s it guys and thanks so much for using Rachel’s English.
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