Learn English with Movies – Ferris Bueller’s Day Off

127,694 views ・ 2020-08-04

Rachel's English


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

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Today you're studying fast English by looking at the reductions, the linking, the stress patterns,
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the simplification that native speakers do when speaking American English.
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We're using the movie Ferris Bueller's Day Off,
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a classic from 1986.
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And all the linking and reductions that Americans do can make it pretty hard to understand them,
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but when you study American English, the way we will in this video,
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your listening comprehension and your ability to sound natural speaking English
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is going to improve dramatically.
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Study like this, you're going to be able to understand American movies and TV without subtitles.
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Oh, that hurts, Cameron.
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We're doing this all summer. We started in June, and we're going through August.
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Stick with me every Tuesday, they're all great scenes
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and there's going to be so much to learn that can transform the way you understand and speak English.
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And as always, if you like this video or you learned something new,
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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
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when it comes to watching English movies in TV.
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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,
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doing a reduction, flapping a T, just like you learned in the analysis.
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Okay, here's the scene.
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It's getting late, buddy, we better go get the car back home.
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>> What? >> What do you…? We have a few hours.
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We have until six.
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I'm sorry, I mean, I know you don't care, but it does mean my ass.
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You think I don't care?
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I know you don't care.
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Oh, that hurts, Cameron.
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Cameron, what have you seen today?
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Nothing good.
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Nothing, nothing, nothing, this…
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What do you mean nothing good?
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We've seen everything good. We've seen the whole city.
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And now, the analysis.
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It's getting late, buddy, we better go get the car back home.
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Okay, a pretty long thought group here. Everything glides together smoothly.
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Let's just look at the first four words. What are our stressed syllables there?
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It's getting late, buddy-
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It's getting late, buddy-
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It's getting late, buddy-
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It's getting-- A little bit of stress there. It's getting late, buddy-
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It's getting late, buddy--
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It's getting late, buddy--
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It's getting late, buddy--
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It's getting late, buddy--
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It's getting late, buddy--
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We have a couple reductions happening here.
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The word it's is reduced. The vowel is dropped, so it's just the TS cluster linking into the G.
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Now with these ING endings, it's pretty common for native speakers in
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the more common words, in more casual situations, to change the NG sound,
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NG which is made at the back of the tongue, to just an N sound
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N which is made with the front of the tongue lifting.
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So getting becomes gettin' gettin'.
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Now why does the T change?
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If I don't change the consonant, if it's an ING ending, then it's a flap T. Getting. Getting. Getting.
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But if I change it to an N, this becomes a stop T. Gettin. Get-nn. Get-nn.
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It's getting,
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There's a rule about T followed by schwa and N
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and how that T becomes a stop T.
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That's an exception to the rule because here in the first syllable, we have G and EH as in bed,
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and the rule is when a T comes between two vowels, it's a flap T.
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But the exception is when it's T schwa N, then it's a stop T, and that's what's happening here.
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So it would maybe be written in IPA with the IH as in sit, and N ending
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rather than schwa, but they act the same when they're unstressed.
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So if we change the ING to an N,
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and the final sound was a T sound
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with a vowel before, it becomes: gettin, gettin.
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It's getting--
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Another example would be the word hitting.
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H-I-T-T-I-N-G hitting with a flap T,
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but if we drop the G and make it an N, then it's hittin, hittin, hit-nn. Stop T.
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So we have a dropped IH in it's, we have a stop T, and the ending changes to N.
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Gettin, get-nn, get-nn,
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so put your tongue into position for the T, stop your air, get-nn.
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Then you don't need to move your tongue. It's in position for the N, just make the N sound.
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Get-nn, get-nn.
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It's getting,
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late.
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It's getting late. It's getting late, buddy.
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It's getting late, buddy.
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It's getting late, buddy.
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It's getting late, buddy.
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In this stress word late, we also have a stop T, that's because the next word begins with a consonant.
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It's getting late, buddy.
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It's getting late, buddy.
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It's getting late, buddy.
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It's getting late, buddy.
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Now, let's talk about these D's. The D sound, ddd--
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is a stop of air and release. Buddy, buddy.
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But that's not how we pronounce it between vowels.
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Here it comes between the vowel UH as in butter, and EE as in she,
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a D sound between vowels is flapped.
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So it's not buddy, but it's: buddy.
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Buddy. Dadadadada. Buddy. It's getting late, buddy.
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It's getting late, buddy.
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It's getting late, buddy.
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It's getting late, buddy, we better go get the car back home.
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We better go get the car back home.
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Be-- the stressed syllable of better, stressed there.
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We better go get the car back home.
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So we have three syllables there that are longer, the rest are lower in pitch.
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So it's not we, but it's: we, we, we better.
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We better--
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We better. We want it to feel unstressed next to the stressed syllable be.
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If I didn't do that, it would be: we better, we better go get the car back home.
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Well, that's not how we speak at all.
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We really need that contrast. We, we, we, we better.
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We better--
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We better. Do you notice that the T sound here is a flap?
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Just like the D between two consonants.
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The T between two consonants is also a flap.
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Better. Better.
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Unless we've already seen an exception here.
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Unless it's part of the T schwa N sequence, then it's a stop.
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But in this word, it's not. So it's better, better, buddy, buddy, rarara, it's a flap.
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We better go get.
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We better go get.
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We better go get.
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We better go get.
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We better go get. So the second syllable of better
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and go get the, those are all flatter, lower in pitch just like we.
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Tter go get the-- Tter go get the--
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We better go get--
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We better go get--
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We better go get--
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Get the--
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Do you notice that stop T there? Don't release it. Get the.
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You just stop the air in your throat very quickly before moving on to the next sound.
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Get the, get the, get the, better go get the.
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Better go get--
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the car back home.
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Car back home. Car back home. Dadada.
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Back has a little bit of length too, even though it doesn't have the up down shape that car does,
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that would be: car back home, but it's: car back home. Car back home.
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Car back home.
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Car back home.
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Car back home.
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What?
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What? What? We hear this faintly in the background. It's the woman sitting in the car. What?
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Pitch going up. She's asking what?
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Why? Why on earth would we need to get the car back home? It's not getting late. What?
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Stop T at the end.
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What?
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What?
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>> What? >> What do you..?
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What do you… He starts to say the phrase: what do you mean?
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What do you… and he makes the M but he doesn't say the rest of the word.
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What do you mm… What do you mm… So I'm going to put an M here at the end.
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What do you mm… What do you mm… What do you…
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Okay, so what's happening with what and do? This is pretty common when
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a word that ends in T like what is followed by a D,
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that we drop the T sound and just link it in. Wha--
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So you can think of it as the UH as in butter, or the schwa depending on how quickly you're making it.
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Wha-- Wha-- Wha- wha duh-- wha duh-- wha duh-wha duh yuh--
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What do you..?
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What do you..? What do you..?
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Then this is going to be a flap because it comes between two vowels.
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What do you..?
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All of these vowels reduced to the schwa. It's not: what do you, it's: wha duh yuh- wha duh yuh- wha duh yuh--
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What do you mean?
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What do you want to do?
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What do you think?
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Pretty common to pronounce these three words this way.
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Wha duh yuh- wha duh yuh- wha duh yuh-
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Simplify your mouth movement. Move quickly. What do you, what do you.
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Try to relax everything, practice that, just those three words.
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Wha duh yuh- wha duh yuh- And then you can do a stressed word after.
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What do you think?
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What do you mean?
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What do you need?
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This is how we speak natural conversational American English.
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What do you..?
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What do you..?
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What do you..? We have a few hours.
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We have a few hours.
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We have a few-- stress on have, hours, stress on hours, but he's making the pitch go up.
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So rather than an up down shape, it's a down up shape.
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Hours, we have a few hours.
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But everything really links together smoothly, doesn't it?
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We have a few hours.
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We have a few hours.
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We have a few hours.
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We have a few--
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A, and few, and we, they're all less stressed. Just put them into the line.
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Have a few hours.
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No skips or breaks. We have a few hours.
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Hours. Notice the H in this word is silent.
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We have a few hours.
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We have a few hours.
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We have a few hours.
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We have a few hours.
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We have until six.
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We have until six. Stressing the verb. We have until six.
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And the time. We have until six.
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We have until six.
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We have until six.
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We have until six.
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We have until six. We have until six.
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Make sure you're imitating that smoothness in the change of pitch.
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Uuhhhhh
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We have until six.
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We have until six.
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We have until six.
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No reductions here.
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Notice the T in until is a true T.
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That's because it starts a stressed syllable. Until six.
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The letter X here makes the KS cluster.
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Six. Six. We have until six.
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We have until six.
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We have until six.
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We have until six.
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I'm sorry, I mean, I know you don't care, but it does mean my ass.
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Another long thought group here. I'm sorry.
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I'm sorry. That's the loudest syllable in this phrase.
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I'm sorry, I mean, I know you don't care.
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So we have a little up on know, a little up down on care, I know you don't care.
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I'm sorry, I mean, I know you don't care.
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I'm sorry, I mean, I know you don't care.
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I'm sorry, I mean, I know you don't care.
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I'm sorry, I mean, I mean, I mean.
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These two words actually, these three words, lower in pitch, a little bit less volume, flatter.
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I mean I, I mean I, I mean I, I mean, I know.
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I mean, I know--
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That flat contrasts with sorr-- and know.
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I'm sorry, I mean. I should have included this unstressed syllable here into that.
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Sorr-y I mean, I- y I mean, I- y I mean, I-
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because the unstressed syllable of the stressed word also has an unstressed feel.
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So we have one, two, three, four unstressed syllables in a row, between our stressed syllables.
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I'm sorry, I mean, I-- I mean, I-- I mean, I-- I mean, I- I mean, I-
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Try to make it really that low and that simple with your mouth movements.
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I'm sorry, I mean, I--
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I'm sorry, I mean, I--
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I'm sorry, I mean, I know you don't care.
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I know you don't care.
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So you and don't, also unstressed between our more stressed words, and the word you reduces.
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Again, it's not you, just like before, here, it's ye.
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I know you don't care.
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I know you don't care.
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I know you don't care.
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I know you don't care.
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Super subtle lift here. Don't care. Don't. Stop T.
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It's a little bit nasally because of the N. I know you don't care. Don't care. Don't care.
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I know you don't care.
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I know you don't care.
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I know you don't care, but it does mean my ass.
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But it does mean my ass.
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So we have stress on does, and ass,
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but it, said really quickly, flat, low in pitch. But it, but it, but it, but it.
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They link together with a flap. But it, but it, but it.
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This T is a Stop T because the next word begins with a consonant.
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But it does. But it does.
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But it does. But it does. But it does.
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Does. Make sure you're not saying: does.
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That is not an S that is a Z sound. Does. Does.
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But it does mean my. Mean my. Mean my.
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Lower end pitch, flatter. Mean my ass.
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Link these two words together really smoothly.
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It's an AI diphthong and the AH vowel.
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Sometimes it's a challenge for my students to link two vowel or diphthong sounds together.
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My ass. You can think of going through the glide consonant Y.
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That might help you connect them more smoothly.
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So what does this phrase mean? It means my ass. That means:
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I'm the one who's going to be in trouble, not you, me.
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But it does mean my ass.
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But it does mean my ass.
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14:53
But it does mean my ass.
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14:55
You think I don't care?
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14:56
He's amazed. He can't believe it. What is his stress here? What are the most stressed words?
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15:02
You think I don't care?
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15:03
You think I don't care?
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15:05
You think I don't care?
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905500
1500
15:07
You think I don't care?
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15:09
Definitely stress on think. You think I don't care?
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15:15
And stress on care, it's going up.
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15:17
You think, now here, the word you doesn't reduce. It's not yuh, it it's not yuh, yuh, it's: you, but it is flatter in pitch.
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15:25
It's not: you think, it's not stressed, it's: you, you, you, you, you think, you think, you think I don't-
276
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15:35
Two unstressed words again. You think i don't care?
277
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15:39
You think I don't care?
278
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15:41
You think I don't care?
279
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15:43
You think I don't care?
280
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15:44
Don't care, don't care. Again, a subtle little break here while we stop the air for that stop T.
281
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15:52
I don't care? I don't care?
282
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15:55
I don't care?
283
955140
1280
15:56
I don't care?
284
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1160
15:57
I don't care?
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15:58
I know you don't care.
286
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16:00
Ooh, that's a harsh response. What's his stress?
287
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16:03
I know you don't care.
288
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1500
16:04
I know you don't care.
289
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16:06
I know you don't care.
290
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16:08
I know you don't care.
291
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16:11
Care has stress but he's not putting it up as a question so his pitch goes down.
292
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16:16
I know you don't care.
293
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16:19
I know you don't care.
294
979920
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16:21
I know you don't care.
295
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16:23
I know you don't care.
296
983280
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16:24
I know you don't care.
297
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1160
16:26
Again, don't care, don't care, little stop T there.
298
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16:30
I know you don't care.
299
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16:31
I know you don't care.
300
991960
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16:33
I know you don't care.
301
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1600
16:35
I know you don't care.
302
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16:38
Oh, that hurts, Cameron.
303
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1940
16:40
Oh. Oh. up down shape.
304
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3200
16:44
Oh, that hurts, Cameron. That hurts, Cameron.
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16:51
Hurts, the verb, most stressed there.
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4140
16:55
Oh, that hurts, Cameron.
307
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2520
16:57
Oh, that hurts, Cameron.
308
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17:00
Oh, that hurts, Cameron.
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17:02
That hurts. Do you notice that stop T there? That hurts.
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17:08
Now, let's talk about this word for a second. H consonant, UR vowel, R combination, TS cluster.
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17:19
A lot of my students get confused with this. They want to do something like: huts,
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17:23
or they want to put some sort of vowel in before an R. But this sound is so influenced by the R
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17:29
that it's just all the same sound. Hhh-rr-ts. Hhh-rr
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17:37
Now to make the sound, you don't really need jaw drop.
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17:39
Just put your tongue into position for the R. Urrrrr.
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17:43
Tip is pulled back and up, it's not touching anything.
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17:46
Urr-hurr-hurts, hurts, that hurts, that hurts, Cameron.
318
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17:55
That hurts, Cameron.
319
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1760
17:57
That hurts, Cameron.
320
1077640
1640
17:59
That hurts, Cameron.
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1079280
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18:00
The word Cameron, just like camera,
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18:04
could be pronounced potentially with that middle syllable, but he doesn't.
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18:07
He leaves it out. Camera. Cameron.
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2900
18:10
This is a more common pronunciation, so right from M into R.
325
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18:14
Cam-ron. Cameron.
326
1094400
3280
18:17
Cameron.
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18:18
Cameron.
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1098720
1060
18:19
Cameron.
329
1099780
2540
18:22
Cameron, what have you seen today?
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18:24
Cameron. Cameron. Cameron.
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18:29
A little up shape at the end. Cameron. Again, dropping that middle syllable. Cameron.
332
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18:35
Cameron.
333
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18:36
Cameron.
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18:37
Cameron, what have you seen today?
335
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1920
18:39
What have you seen today?
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1980
18:41
The question word get some stress. What have you seen today?
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18:47
Today? Now, be careful with this word. A lot of people want to say: Today, Today, Today.
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18:53
That is not the OO vowel. Look it up in the dictionary, you'll see the schwa. T,T,T Today. Today. Today.
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1133380
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19:00
What have you seen today?
340
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1640
19:02
What have you seen today?
341
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1580
19:04
What have you seen today?
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1280
19:05
What have you, what have you. Okay, so the word you does not reduce. It's you, not yih, but it is unstressed.
343
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19:15
You, you, the word have does reduce, he drops the H.
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19:21
Now we have a T between vowels, so that becomes a flap T linking them.
345
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4740
19:26
What have, what have.
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19:28
What have--
347
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19:30
W consonant, AA vowel, flap T linking, and then have is reduced to just schwa V.
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19:40
What have, what have, what have, what have you, what have you seen, what have you seen today?
349
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19:47
What have you seen today?
350
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19:48
What have you seen today?
351
1188960
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19:50
What have you seen today?
352
1190440
2160
19:52
Nothing good.
353
1192600
1140
19:53
Nothing good.
354
1193740
1620
19:55
Nothing good.
355
1195360
3180
19:58
He's being a little sassy here. They've had a lot of fun that day.
356
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3680
20:02
Nothing good.
357
1202220
2920
20:05
Making the pitch go up a little bit at the end.
358
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20:07
Nothing good.
359
1207820
3440
20:11
Sort of shows that sassiness. Nothing. Did you notice? It's not: nothing, nothing, nothing,
360
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20:18
so he's changed the NG ending to just an N ending.
361
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20:23
Nothing, nothing, nothing.
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20:27
Nothing--
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20:29
Another thing I want to just say about ING endings.
364
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20:32
So ING written in IPA, IH, Nn, IN, written in IPA, IH, Nn, however,
365
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13300
20:46
when the vowel IH is followed by NG, that vowel changes.
366
1246260
4480
20:50
It's actually a lot more like EE, like in the word ring, or sing. That's not ring, or sing.
367
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20:59
So that NG consonant changes the vowel. So if we have an ING ending,
368
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21:06
and we change the NG sound to an N sound, we not only change the consonant, but we change the vowel as well.
369
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21:13
It goes from sounding like EE to sounding more like IH.
370
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21:16
So nothin' in, in, instead of nothing, ing, ing, nothing, nothing, nothing good.
371
1276920
8260
21:25
Nothing good.
372
1285180
3880
21:29
Nothing good. Light release of the D.
373
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4240
21:33
Don't make it good. That's too much. Good. Good. Good.
374
1293300
5420
21:38
Really light.
375
1298720
1820
21:40
Good.
376
1300540
3080
21:43
Nothing, nothing, nothing, this…
377
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21:48
Okay, so we're not going to go through the pronunciation of this. He's just sort of in disbelief,
378
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21:55
just sort of saying little beginnings of words but not actually completing any of them. He can't believe it.
379
1315400
6660
22:02
Nothing, nothing, nothing, this…
380
1322060
4220
22:06
What do you mean nothing good?
381
1326280
1740
22:08
What do you mean nothing good?
382
1328020
3720
22:11
Wha-- up down shape on our question word. What do you mean nothing good?
383
1331740
8280
22:20
What do you mean nothing good?
384
1340020
2040
22:22
What do you mean nothing good?
385
1342060
1920
22:23
What do you mean nothing good?
386
1343980
1800
22:25
What do you-- again, we have that reduction, don't we?
387
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22:31
It's not: what do you, but it's: whah d'ya--
388
1351820
3160
22:34
What do you mean--
389
1354980
3520
22:38
Actually, it's what uh you-- so he reduces the vowel in do to the schwa,
390
1358500
5780
22:44
but he doesn't reduce it in you, it is still unstressed. So this can be:
391
1364280
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22:49
what do you, or whah d'ya-. What do you , whah d'ya.
392
1369660
4180
22:53
So the first time we heard it as: whah d'ya, now here, it's: what do you, what do you, what do you, what do you.
393
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22:59
What matters is that that is unstressed. Now, you can choose to do you, or ya, totally up to you.
394
1379540
6820
23:06
If you want to work this phrase into your conversational english, and you want to practice it,
395
1386360
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23:12
you can choose if you want to reduce that vowel or not.
396
1392440
2880
23:15
Just really practice: whah d'ya- whah d'ya- or what do you, what do you.
397
1395320
4640
23:19
Practice that smoothness and the stress. The first word is stressed,
398
1399960
4100
23:24
the other two words said very quickly. That's what's important here to sound natural.
399
1404060
4340
23:28
Both vowels are okay. Whah d'ya. What do you. What do you. What do you mean?
400
1408400
5480
23:33
What do you mean?
401
1413880
1300
23:35
What do you mean?
402
1415180
1280
23:36
What do you mean?
403
1416460
1000
23:37
Mean nothing good? Mean nothing--
404
1417460
5400
23:42
Two words, same sound linking them together. Mean nothing.
405
1422860
5380
23:48
Just a single N sound to link. Nothing. Nothing. Okay, so UH as in butter vowel,
406
1428240
6820
23:55
unvoiced TH, your tongue tip has to come through.
407
1435060
2680
23:57
Nothing. Nothing. Let's take a look at his mouth position for that sound.
408
1437740
3780
24:01
What do you mean nothing good?
409
1441520
5420
24:06
Nothing good. Now here, he does not change the ING ending to IN so it is EE as in She, ING sound. Nothing.
410
1446940
10180
24:17
Nothing. Nothing good. Nothing good. Right from the NG sound into the G sound, no break, all connected.
411
1457120
11200
24:28
Nothing good.
412
1468320
1420
24:29
Nothing good.
413
1469740
1380
24:31
Nothing good. We've seen everything good.
414
1471120
2840
24:33
We've seen everything good.
415
1473960
3760
24:37
So the words we've and seen, two unstressed syllables leading up to that peak of pitch.
416
1477720
6140
24:43
Ev-- on the first syllable here. Everything good and then some more stress there.
417
1483860
8060
24:51
We've seen everything good. And it all links together.
418
1491920
3760
24:55
The V sound is very subtle. We've seen-- just very subtle and fast there.
419
1495680
6700
25:02
We've seen. We've seen. We've seen. Think of it as a word, not two words.
420
1502380
6060
25:08
That's how linked together it needs to be. We've seen everything.
421
1508440
5740
25:14
You can think of this word as being: neverything, neverything, if that helps you connect the two words.
422
1514180
8040
25:22
We've seen everything good.
423
1522220
4200
25:26
We've seen everything good.
424
1526420
1800
25:28
We've seen everything good.
425
1528220
1420
25:29
We've seen everything good.
426
1529640
1780
25:31
Thing, unvoiced TH. IH as in sit, NG ending, so the vowel is more like EE. Everything good.
427
1531420
12720
25:44
And again linking right into the G sound. Everything good.
428
1544140
4820
25:48
Everything good.
429
1548960
1300
25:50
Everything good.
430
1550260
1520
25:51
Everything good. We've seen the whole city.
431
1551780
2320
25:54
We've seen the whole city.
432
1554100
3600
25:57
Stress on seen, again, we've, it's unstressed, it's just leading up to that stressed syllable.
433
1557700
5640
26:03
We've seen the whole.
434
1563340
4620
26:07
Whole city. Some stress on whole. More stress on ci-city.
435
1567960
7120
26:15
So we see the letter C but of course, it's the S consonant, first syllable stress, city.
436
1575080
6740
26:21
Flap T because it comes between two vowels, we flap it. I've been writing that with the D symbol, dadada,
437
1581820
6780
26:28
because the T between vowels sounds just like the D between vowels. City, city, city.
438
1588600
6060
26:34
We've seen the whole city.
439
1594660
3220
26:37
We've seen the whole city.
440
1597880
1640
26:39
We've seen the whole city.
441
1599520
1600
26:41
We've seen the whole city.
442
1601120
1680
26:42
Whole, silent W. We've seen the whole city.
443
1602800
7460
26:50
We've seen the whole city.
444
1610260
1680
26:51
We've seen the whole city.
445
1611940
1600
26:53
We've seen the whole city.
446
1613540
1580
26:55
We've seen the whole city. I want to talk about the L here:
447
1615120
5120
27:00
whole city, that's a dark L because it comes after the diphthong sound in that syllable.
448
1620240
7100
27:07
That would be pronounced or written in IPA H, OH diphthong, L. Whole. Whole.
449
1627340
6800
27:14
Now, because the next word begins with a consonant, we can get away with not lifting the tongue tip,
450
1634140
5760
27:19
and actually that's what you want to do. If you lift your tongue tip for this L, it will bring the sound more forward
451
1639900
5820
27:25
and it will probably take too long.
452
1645720
3060
27:28
We just want: who-oh-ohl, whole.
453
1648780
3960
27:32
Also the dark L really changes that diphthong, doesn't it? It's not: who-ol, who-ol.
454
1652740
6200
27:38
So the diphthong isn't pure, it's whole.
455
1658940
4020
27:42
Sort of a funny dark sound. The lips around some. The back of the tongue presses down and back.
456
1662960
6240
27:49
Whole city. Before we go into the S sound.
457
1669200
5080
27:54
We've seen the whole city.
458
1674280
2480
27:56
We've seen the whole city.
459
1676760
1640
27:58
We've seen the whole city.
460
1678400
1660
28:00
We've seen the whole city.
461
1680060
1760
28:01
Let's listen to this whole conversation one more time.
462
1681820
2540
28:04
It's getting late, buddy, we better go get the car back home.
463
1684360
2560
28:06
>> What? >> What do you…? We have a few hours.
464
1686920
2480
28:09
We have until six.
465
1689400
780
28:10
I'm sorry, I mean, I know you don't care, but it does mean my ass.
466
1690180
3100
28:13
You think I don't care?
467
1693280
1300
28:14
I know you don't care.
468
1694580
3580
28:18
Oh, that hurts, Cameron.
469
1698160
3520
28:21
Cameron, what have you seen today?
470
1701680
2740
28:24
Nothing good.
471
1704420
1840
28:26
Nothing, nothing, nothing, this…
472
1706260
4080
28:30
What do you mean nothing good?
473
1710340
1820
28:32
We've seen everything good. We've seen the whole city.
474
1712160
3560
28:35
Now for the fun part,
475
1715720
1660
28:37
you'll look at the notes we took together and you'll hear a part of the conversation on a loop three times.
476
1717380
5600
28:42
Then there's a space for you to repeat. For example, you'll hear this:
477
1722980
4620
28:47
Maybe so, sir.
478
1727600
3420
28:51
Then you'll repeat it: maybe so, sir. Try to imitate everything about this exactly so when you see this,
479
1731020
7900
29:00
then you'll repeat it. Maybe so, sir.
480
1740840
3040
29:03
That's from Top Gun: Maverick, which was the first movie we studied in this summer series.
481
1743880
5840
29:09
You'll also have the opportunity to listen and repeat in slow motion.
482
1749720
3760
29:13
This will be important for you if you're more of a beginner, or if you're having a hard time focusing on linking or the melody.
483
1753480
7680
29:21
Maybe you'll want to do it both ways, but the important thing is here is your opportunity
484
1761160
5200
29:26
to take what you learned and put it into your body and your own habit.
485
1766360
4720
29:31
That's what's going to transform your speaking.
486
1771080
2820
29:33
You might do well to work with the audio section of this video every day for a week.
487
1773900
4620
29:38
Imitating the rhythm and the simplifications will get easier each time you do it.
488
1778520
5300
29:43
If you can't keep up with the native speaker, do the slow-motion imitation.
489
1783820
4440
29:48
Okay, here's our audio training section.
490
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3000
37:49
Don't forget to come back and do this audio again tomorrow and the next day.
491
2269860
4440
37:54
You want to build habits here so you don't need to think about it so much when you're speaking in conversation.
492
2274300
5940
38:00
You can focus on the words and not the expression or pronunciation.
493
2280240
4320
38:04
Don't forget this is part of a series all summer long, 13 videos, 13 scenes for movies check out each one,
494
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7120
38:11
learn something new each time.
495
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2440
38:14
I make new videos on the English language every Tuesday and I'd love to have you back here again.
496
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5260
38:19
Please subscribe with notifications and continue your studies right now with this video.
497
2299380
5620
38:25
And if you love this video, share it with a friend.
498
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2340
38:27
That's it guys and thanks so much for using Rachel's English.
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5980
About this website

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