Learn English with Songs | TAYLOR SWIFT WILDEST DREAMS | Rachel's English

227,356 views ใƒป 2019-10-15

Rachel's English


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

00:00
This song got the most votes on what song to learn English with next.
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์ด ๋…ธ๋ž˜๋Š” ๋‹ค์Œ์— ์˜์–ด ๊ณต๋ถ€ํ•  ๋…ธ๋ž˜๋กœ ๊ฐ€์žฅ ๋งŽ์€ ํ‘œ๋ฅผ ๋ฐ›์•˜์Šต๋‹ˆ๋‹ค.
00:06
Taylor swift, wildest dreams.
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ํ…Œ์ผ๋Ÿฌ ์Šค์œ„ํ”„ํŠธ, ๊ฐ€์žฅ ๊ฑฐ์นœ ๊ฟˆ.
00:08
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00:12
What song do you want to see next? Put it in the comments below.
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๋‹ค์Œ์— ๋ณด๊ณ ์‹ถ์€ ๋…ธ๋ž˜๋Š”? ์•„๋ž˜ ๋Œ“๊ธ€์— ์ ์–ด์ฃผ์„ธ์š”.
00:15
But if the song is already there, just like that comment.
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ํ•˜์ง€๋งŒ ๋…ธ๋ž˜๊ฐ€ ์ด๋ฏธ ์žˆ์œผ๋ฉด ๊ทธ ๋Œ“๊ธ€์ฒ˜๋Ÿผ.
00:18
Alright, let's get started.
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์ข‹์•„, ์‹œ์ž‘ํ•˜์ž.
00:20
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00:22
He said, "Let's get out of this town"
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๊ทธ๋Š” "์ด ๋งˆ์„์—์„œ ๋‚˜๊ฐ€์ž"๋ผ๊ณ  ๋งํ–ˆ๊ณ 
00:25
So she put a little brake here. So, we'll call that two separate thought groups.
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๊ทธ๋…€๋Š” ์—ฌ๊ธฐ์„œ ์•ฝ๊ฐ„์˜ ์ œ๋™์„ ๊ฑธ์—ˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋ž˜์„œ ์šฐ๋ฆฌ๋Š” ๊ทธ๊ฒƒ์„ ๋‘ ๊ฐœ์˜ ๋ถ„๋ฆฌ๋œ ์ƒ๊ฐ ๊ทธ๋ฃน์ด๋ผ๊ณ  ๋ถ€๋ฅผ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
00:30
So in this first three-word thought group, what word has the most stress?
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๊ทธ๋ž˜์„œ ์ด ์ฒ˜์Œ ์„ธ ๋‹จ์–ด๋กœ ๋œ ์‚ฌ๊ณ  ๊ทธ๋ฃน์—์„œ ์–ด๋–ค ๋‹จ์–ด๊ฐ€ ๊ฐ€์žฅ ์ŠคํŠธ๋ ˆ์Šค๋ฅผ ๋ฐ›์Šต๋‹ˆ๊นŒ?
00:37
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00:38
He said, "Let's"
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๊ทธ๋Š” "Let's"๋ผ๊ณ 
00:40
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00:41
He said, "Let's"
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๋งํ–ˆ์Šต๋‹ˆ๋‹ค. "Let's"๋ผ๊ณ 
00:43
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00:45
He said, "Let's"
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๋งํ–ˆ์Šต๋‹ˆ๋‹ค. "
00:46
He said, "Let's"
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Let's"๋ผ๊ณ  ๋งํ–ˆ์Šต๋‹ˆ๋‹ค.
00:48
Let's-- has much more stress, more volume, the up-down shape. Da da da. It's longer.
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Let's-- ํ›จ์”ฌ ๋” ๋งŽ์€ ์ŠคํŠธ๋ ˆ์Šค, ๋” ๋งŽ์€ ๋ณผ๋ฅจ, ์—…๋‹ค์šด ๋ชจ์–‘์„ ๊ฐ€์ง€๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค. ๋‹ค๋‹ค๋‹ค. ๋” ๊น๋‹ˆ๋‹ค.
00:55
So that's the same as it would be in spoken English. He said, "Let's"-- He said, "Let's"--
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๊ทธ๋ž˜์„œ ๊ทธ๊ฒƒ์€ ์˜์–ด๋กœ ๋งํ•˜๋Š” ๊ฒƒ๊ณผ ๊ฐ™์Šต๋‹ˆ๋‹ค. ๊ทธ๋Š” "Let's"๋ผ๊ณ  ๋งํ–ˆ์Šต๋‹ˆ๋‹ค-- ๊ทธ๋Š” "Let's"๋ผ๊ณ  ๋งํ–ˆ์Šต๋‹ˆ๋‹ค--
01:00
The three words are smoothly connected, there are no breaks between them
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์„ธ ๋‹จ์–ด๊ฐ€ ๋งค๋„๋Ÿฝ๊ฒŒ ์—ฐ๊ฒฐ๋˜์–ด ์žˆ๊ณ  ๋‹จ์–ด ์‚ฌ์ด์— ๋Š๊น€์ด ์—†์œผ๋ฉฐ
01:05
the sound just flows right through that phrase.
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์†Œ๋ฆฌ๊ฐ€ ๊ทธ ๊ตฌ์ ˆ์„ ํ†ตํ•ด ๋ฐ”๋กœ ํ๋ฆ…๋‹ˆ๋‹ค.
01:07
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01:09
He said, "Let's"
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๊ทธ๋Š” "Let's"๋ผ๊ณ  ๋งํ–ˆ์Šต๋‹ˆ๋‹ค.
01:10
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01:12
He said, "Let's"
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"Let's"๋ผ๊ณ 
01:13
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01:15
He said, "Let's get out of this town..."
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๋งํ–ˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋Š” "Let's get out of this town..."์ด๋ผ๊ณ  ๋งํ–ˆ์Šต๋‹ˆ๋‹ค.
01:18
Now we have two T's in the phrase, in the words, get and the word out. And she pronounces them differently.
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์ด์ œ ๊ตฌ๋ฌธ์— ๋‘ ๊ฐœ์˜ T๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋ฆฌ๊ณ  ๊ทธ๋…€๋Š” ๊ทธ๊ฒƒ๋“ค์„ ๋‹ค๋ฅด๊ฒŒ ๋ฐœ์Œํ•ฉ๋‹ˆ๋‹ค.
01:25
So a T is usually a flap T which sounds sort of like an American D.
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๋”ฐ๋ผ์„œ T๋Š” ์ผ๋ฐ˜์ ์œผ๋กœ ์ผ์ข…์˜ ๋ฏธ๊ตญ์‹ D์ฒ˜๋Ÿผ ๋“ค๋ฆฌ๋Š” ํ”Œ๋žฉ T์ž…๋‹ˆ๋‹ค.
01:29
Outta, outta, outta, if it comes between two vowels or diphthongs, so they both do.
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Outta, outta, outta๊ฐ€ ๋‘ ๊ฐœ์˜ ๋ชจ์Œ์ด๋‚˜ ์ด์ค‘๋ชจ์Œ ์‚ฌ์ด์— ์˜ค๋ฉด ๋‘˜ ๋‹ค ๊ทธ๋ ‡์Šต๋‹ˆ๋‹ค.
01:35
Get out of-- get out of-- dadadada--
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Get out of-- get out of- dadadada--
01:38
So in spoken English, it would be really common to make both of those a flap T,
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๊ตฌ์–ด์ฒด ์˜์–ด์—์„œ๋Š” ๋‘˜ ๋‹ค ํ”Œ๋žฉ T๋กœ ๋งŒ๋“œ๋Š” ๊ฒƒ์ด ์ผ๋ฐ˜์ ์ด์ง€๋งŒ
01:42
but she doesn't do that with the first. The first, she makes a stop T, the second T is a flap T,
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์ฒซ ๋ฒˆ์งธ๋Š” ๊ทธ๋ ‡๊ฒŒ ํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค. ์ฒซ ๋ฒˆ์งธ, ๊ทธ๋…€๋Š” ์ค‘์ง€ T๋ฅผ ๋งŒ๋“ค๊ณ  ๋‘ ๋ฒˆ์งธ T๋Š” ํ”Œ๋žฉ T์ด๋ฉฐ
01:47
smoothly linking those. Get out of-- The word 'of' is reduced, it's just the schwa.
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๋ถ€๋“œ๋Ÿฝ๊ฒŒ ์—ฐ๊ฒฐํ•ฉ๋‹ˆ๋‹ค. Get out of-- 'of'๋ผ๋Š” ๋‹จ์–ด๊ฐ€ ์ค„์–ด๋“ค์—ˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋ƒฅ ์Šˆ์™€์ž…๋‹ˆ๋‹ค.
01:53
Out of-- out of--
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Out of-- out of--
01:54
Get out of--
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Get out of--
01:56
Get out of--
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Get out of--
01:57
Get out of--
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Get out of-
01:59
Now, the word 'get' is pronounced, how?
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์ด์ œ 'get'์ด๋ผ๋Š” ๋‹จ์–ด๋Š” ์–ด๋–ป๊ฒŒ ๋ฐœ์Œ๋ฉ๋‹ˆ๊นŒ?
02:03
Get out of--
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๋‚˜๊ฐ€-- ๋‚˜๊ฐ€--
02:04
Get out of--
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02:06
Get out of--
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๋‚˜๊ฐ€-- , ,
02:07
Get, get, get, get, get.
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, , , .
02:10
That's a stop T. You might think: I don't hear a T. That would sound like this: get, but a stop T: get, get,
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๊ทธ๊ฒƒ์€ ์ •์ง€ T์ž…๋‹ˆ๋‹ค. ๋‹น์‹ ์€ ์ƒ๊ฐํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค: ๋‚˜๋Š” T๊ฐ€ ๋“ค๋ฆฌ์ง€ ์•Š์Šต๋‹ˆ๋‹ค. ๊ทธ๊ฒƒ์€ ๋‹ค์Œ๊ณผ ๊ฐ™์ด ๋“ค๋ฆด ๊ฒƒ์ž…๋‹ˆ๋‹ค: get, but a stop T: get, get์€
02:19
is different from no T at all.
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T๊ฐ€ ์—†๋Š” ๊ฒƒ๊ณผ ์ „ํ˜€ ๋‹ค๋ฆ…๋‹ˆ๋‹ค.
02:21
No T at all would sound like this: geh, geh, the voice would go down in pitch, it would be a little bit longer,
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T๋Š” ์ „ํ˜€ ๋‹ค์Œ๊ณผ ๊ฐ™์ด ๋“ค๋ฆฌ์ง€ ์•Š์„ ๊ฒƒ์ž…๋‹ˆ๋‹ค: ์Œ์กฐ๊ฐ€ ๋‚ฎ์•„์ง€๊ณ , ์กฐ๊ธˆ ๋” ๊ธธ์–ด์ง€๊ณ ,
02:28
the stop T is an abrupt stop, and that is what signifies the T. Get, get, get.
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์ •์ง€ T๋Š” ๊ฐ‘์ž‘์Šค๋Ÿฐ ์ •์ง€์ด๋ฉฐ ์ด๊ฒƒ์ด T๋ฅผ ์˜๋ฏธํ•ฉ๋‹ˆ๋‹ค. Get, get, get .
02:36
We don't hear a T sound, but because there's an abrupt stop, our minds as native speakers, hear that as a T.
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์šฐ๋ฆฌ๋Š” T ์†Œ๋ฆฌ๋ฅผ ๋“ฃ์ง€ ๋ชปํ•˜์ง€๋งŒ ๊ฐ‘์ž‘์Šค๋Ÿฌ์šด ์ •์ง€๊ฐ€ ์žˆ๊ธฐ ๋•Œ๋ฌธ์— ์›์–ด๋ฏผ์œผ๋กœ์„œ ์šฐ๋ฆฌ์˜ ๋งˆ์Œ์€ ๊ทธ๊ฒƒ์„ T๋กœ ๋“ฃ์Šต๋‹ˆ๋‹ค.
02:43
Get, get, out of, get out of.
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Get, get, out of, get out of.
02:46
So she puts a break there by making that stop T, and then she reattached
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๊ทธ๋ž˜์„œ ๊ทธ๋…€๋Š” ์ค‘์ง€ T๋ฅผ ๋งŒ๋“ค์–ด ๊ฑฐ๊ธฐ์„œ ํœด์‹์„ ์ทจํ•œ ๋‹ค์Œ ํ”Œ๋žฉ T์™€ ์—ฐ๊ฒฐํ•˜์ง€
02:51
the phrase on the OW diphthong rather than linking with a flap T.
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์•Š๊ณ  OW ์ด์ค‘๋ชจ์Œ์— ๋ฌธ๊ตฌ๋ฅผ ๋‹ค์‹œ ๋ถ™์˜€์Šต๋‹ˆ๋‹ค.
02:57
Get out of--
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Get out of-
02:58
Get out of--
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Get out of-
02:59
Get out of this town.
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Get out of this town.
03:01
Out of this town. And then the rest of the words link together really smoothly.
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์ด ๋งˆ์„์—์„œ. ๊ทธ๋ฆฌ๊ณ  ๋‚˜๋จธ์ง€ ๋‹จ์–ด๋“ค์€ ์ •๋ง ๋ถ€๋“œ๋Ÿฝ๊ฒŒ ์—ฐ๊ฒฐ๋ฉ๋‹ˆ๋‹ค.
03:08
Out of this town. The two most stressed words there. They're longer, they're stressed.
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์ด ๋งˆ์„์—์„œ. ๊ฐ€์žฅ ๊ฐ•์กฐ๋˜๋Š” ๋‘ ๋‹จ์–ด. ๋” ๊ธธ์–ด์ง€๊ณ  ์ŠคํŠธ๋ ˆ์Šค๋ฅผ ๋ฐ›์Šต๋‹ˆ๋‹ค.
03:16
Out of this town.
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์ด ๋งˆ์„์—์„œ.
03:17
Out of thi s town.
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์ด ๋งˆ์„ ๋ฐ–์œผ๋กœ.
03:19
Out of this town.
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์ด ๋งˆ์„์—์„œ.
03:22
So 'of' and 'this', of this-- of this-- of this-- lower in pitch, have an unstressed feeling.
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๊ทธ๋ž˜์„œ 'of'์™€ 'this', ์ด๊ฒƒ์˜-์ด๊ฒƒ์˜-์ด๊ฒƒ์˜ ๋‚ฎ์€ ์Œ์กฐ๋Š” ๊ฐ•์„ธ๊ฐ€ ์—†๋Š” ๋Š๋‚Œ์„ ์ค๋‹ˆ๋‹ค.
03:29
Out of this town.
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์ด ๋งˆ์„์—์„œ.
03:31
Out of this town.
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์ด ๋งˆ์„์—์„œ.
03:32
Out of this town.
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์ด ๋งˆ์„์—์„œ.
03:34
The word 'town' has the OW diphthong, and the N consonant.
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'town'์ด๋ผ๋Š” ๋‹จ์–ด์—๋Š” OW ์ด์ค‘๋ชจ์Œ ๊ณผ N ์ž์Œ์ด ์žˆ์Šต๋‹ˆ๋‹ค.
03:40
I have noticed this combination can be tricky for non-native speakers, especially my students from China,
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๋‚˜๋Š” ์ด ์กฐํ•ฉ์ด ๋ชจ๊ตญ์–ด๊ฐ€ ์•„๋‹Œ ์‚ฌ๋žŒ๋“ค, ํŠนํžˆ ์ค‘๊ตญ์—์„œ ์˜จ ์ œ ํ•™์ƒ๋“ค์ด ๋„์‹œ๋ฅผ ๋งํ•˜๋Š” ๊ฒฝํ–ฅ์ด ์žˆ๋Š” ์‚ฌ๋žŒ๋“ค์—๊ฒŒ๋Š” ๊นŒ๋‹ค๋กœ์šธ ์ˆ˜ ์žˆ๋‹ค๋Š” ๊ฒƒ์„ ์•Œ์•„์ฐจ๋ ธ์Šต๋‹ˆ๋‹ค
03:45
tend to say town.
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.
03:48
And they nasalized the vowel and don't make an N, but that's not what we do in American English.
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๋“ค์€ ๋ชจ์Œ์„ ๋น„์Œํ™”ํ•˜๊ณ  N์„ ๋งŒ๋“ค์ง€ ์•Š์Šต๋‹ˆ๋‹ค. ํ•˜์ง€๋งŒ ๊ทธ๊ฒƒ์€ ์šฐ๋ฆฌ๊ฐ€ ๋ฏธ๊ตญ์‹ ์˜์–ด์—์„œ ํ•˜๋Š” ๊ฒƒ์ด ์•„๋‹™๋‹ˆ๋‹ค.
03:53
Tow-- ow-- The OW diphthong is not nasalized at all, and then the tongue comes up for the N.
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Tow--ow-- OW ์ด์ค‘๋ชจ์Œ์€ ์ „ํ˜€ ๋น„์Œํ™”๋˜์ง€ ์•Š๊ณ  N. Town์„ ์œ„ํ•ด ํ˜€๊ฐ€ ์˜ฌ๋ผ์˜ต๋‹ˆ๋‹ค
04:01
Town. Town. Town.
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. ๋„์‹œ. ๋„์‹œ.
04:04
So make sure your tongue is making contact with the roof of the mouth, the tongue tip does lift, that's the N.
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๋”ฐ๋ผ์„œ ํ˜€๊ฐ€ ์ž…์ฒœ์žฅ์— ๋‹ฟ์•˜๋Š”์ง€ ํ™•์ธํ•˜์„ธ์š”. ํ˜€๋์ด ๋“ค๋ฆฌ๋ฉด ๊ทธ๊ฒƒ์ด N์ž…๋‹ˆ๋‹ค.
04:11
If you feel like your tongue tip isn't lifting, then you're probably nasalizing the vowel or the diphthong here.
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ํ˜€๋์ด ๋“ค๋ฆฌ์ง€ ์•Š๋Š” ๊ฒƒ ๊ฐ™๋‹ค๋ฉด ์•„๋งˆ๋„ ๋ชจ์Œ์ด๋‚˜ ์ด์ค‘๋ชจ์Œ์„ ๋น„์Œํ•˜๊ณ  ์žˆ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
04:17
Town, town. We do not want that. Town. Town. Nnnn. N consonant at the end.
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๋งˆ์„, ๋งˆ์„. ์šฐ๋ฆฌ๋Š” ๊ทธ๊ฒƒ์„ ์›ํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค. ๋„์‹œ. ๋„์‹œ. ์Œ. N ๋์— ์ž์Œ.
04:24
Town.
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๋„์‹œ.
04:27
Town. Drive out of the city.
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๋„์‹œ. ๋„์‹œ ๋ฐ–์œผ๋กœ ์šด์ „ํ•˜์‹ญ์‹œ์˜ค.
04:29
What do you hear as the most stressed words in this next phrase?
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๋‹ค์Œ ๋ฌธ๊ตฌ์—์„œ ๊ฐ€์žฅ ๊ฐ•์กฐ๋˜๋Š” ๋‹จ์–ด๋Š” ๋ฌด์—‡์ž…๋‹ˆ๊นŒ?
04:34
Drive out of the city.
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๋„์‹œ ๋ฐ–์œผ๋กœ ์šด์ „ํ•˜์‹ญ์‹œ์˜ค.
04:36
Drive out of the city.
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๋„์‹œ ๋ฐ–์œผ๋กœ ์šด์ „ํ•˜์‹ญ์‹œ์˜ค.
04:38
Drive out of the city.
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๋„์‹œ ๋ฐ–์œผ๋กœ ์šด์ „ํ•˜์‹ญ์‹œ์˜ค.
04:40
Drive.
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์šด์ „ํ•˜๋‹ค.
04:41
Drive out of the city.
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๋„์‹œ ๋ฐ–์œผ๋กœ ์šด์ „ํ•˜์‹ญ์‹œ์˜ค.
04:44
Drive and 'ci' the stressed syllable of city, have the most stress.
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city์˜ ๊ฐ•์„ธ๊ฐ€ ์žˆ๋Š” ์Œ์ ˆ์ธ Drive์™€ 'ci'๊ฐ€ ๊ฐ•์„ธ๋ฅผ ๊ฐ€์žฅ ๋งŽ์ด ๋ฐ›์Šต๋‹ˆ๋‹ค.
04:50
Da-da-da-da-da-da. They're longer.
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๋‹ค๋‹ค๋‹ค๋‹ค๋‹ค๋‹ค๋‹ค. ๊ทธ๋“ค์€ ๋” ๊ธธ๋‹ค.
04:53
That rhythmic contrast of long and short is important in singing, but also in spoken English.
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๊ธธ๊ณ  ์งง์€ ๋ฆฌ๋“œ๋ฏธ์ปฌํ•œ ๋Œ€๋น„๋Š” ๋…ธ๋ž˜์—์„œ ์ค‘์š”ํ•˜์ง€๋งŒ ๊ตฌ์–ด์ฒด ์˜์–ด์—์„œ๋„ ์ค‘์š”ํ•ฉ๋‹ˆ๋‹ค.
04:59
All of these words linked together really smoothly, there are no breaks, drive out of the city--
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์ด ๋ชจ๋“  ๋‹จ์–ด๊ฐ€ ์ •๋ง ๋งค๋„๋Ÿฝ๊ฒŒ ์—ฐ๊ฒฐ๋˜์–ด ๋Š๊น€์ด ์—†์Šต๋‹ˆ๋‹ค. Drive out of the city--
05:05
dduuuhhhh-- smooth connection, the V sound right into the OW diphthong of 'out'.
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dduuuhhhh--๋งค๋„๋Ÿฌ์šด ์—ฐ๊ฒฐ, V๋Š” 'out'์˜ OW ์ด์ค‘๋ชจ์Œ์œผ๋กœ ๋ฐ”๋กœ ์—ฐ๊ฒฐ๋ฉ๋‹ˆ๋‹ค.
05:12
That is a flap T again.
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๊ทธ๊ฒƒ์€ ๋‹ค์‹œ ํ”Œ๋žฉ T์ž…๋‹ˆ๋‹ค.
05:15
Out of, out of, out of, out of the, out of the.
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๋ฐ–, ๋ฐ–, ๋ฐ–, ๋ฐ–, ๋ฐ–.
05:18
And the schwa vowel just links right into the word 'the'. Of the, of the. Out of the, out of the.
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๊ทธ๋ฆฌ๊ณ  schwa ๋ชจ์Œ์€ 'the'๋ผ๋Š” ๋‹จ์–ด๋กœ ๋ฐ”๋กœ ์—ฐ๊ฒฐ๋ฉ๋‹ˆ๋‹ค. ์˜, ์˜. ๋ฐ–์œผ๋กœ, ๋ฐ–์œผ๋กœ.
05:25
Drive out of the city.
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๋„์‹œ ๋ฐ–์œผ๋กœ ์šด์ „ํ•˜์‹ญ์‹œ์˜ค.
05:27
Drive out of the city.
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๋„์‹œ ๋ฐ–์œผ๋กœ ์šด์ „ํ•˜์‹ญ์‹œ์˜ค.
05:29
Drive out of the city.
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๋„์‹œ ๋ฐ–์œผ๋กœ ์šด์ „ํ•˜์‹ญ์‹œ์˜ค.
05:31
Drive out of the city.
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๋„์‹œ ๋ฐ–์œผ๋กœ ์šด์ „ํ•˜์‹ญ์‹œ์˜ค.
05:33
City.
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๋„์‹œ.
05:34
What's happening with this T? It is a flap T, isn't it? City. Da-da-da-da-da.
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์ด T์—๊ฒŒ ๋ฌด์Šจ ์ผ์ด ์ผ์–ด๋‚˜๊ณ  ์žˆ์Šต๋‹ˆ๊นŒ? ํ”Œ๋žฉ T ๋งž์ฃ ? ๋„์‹œ. ๋‹ค๋‹ค๋‹ค๋‹ค๋‹ค๋‹ค.
05:40
The tongue flaps against the roof of mouth, that's because it comes between two vowels: city.
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ํ˜€๋Š” ์ž…์ฒœ์žฅ์— ๋Œ€๊ณ  ํŒŒ๋‹ฅ๊ฑฐ๋ฆฝ๋‹ˆ๋‹ค. ์ด๋Š” ๋‘ ๊ฐœ์˜ ๋ชจ์Œ์ธ ๋„์‹œ ๋ชจ์Œ ์‚ฌ์ด์— ์˜ค๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
05:45
City.
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๋„์‹œ.
05:48
City. Away from the crowds.
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๋„์‹œ. ๊ตฐ์ค‘์—์„œ ๋ฉ€๋ฆฌ.
05:51
Away from the crowds.
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๊ตฐ์ค‘์—์„œ ๋ฉ€๋ฆฌ.
05:54
The stress of how it's sung is exactly like the stress of how it would be spoken.
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๋…ธ๋ž˜ํ•˜๋Š” ๋ฐฉ์‹์˜ ๊ฐ•์„ธ๋Š” ๋งํ•˜๋Š” ๋ฐฉ์‹์˜ ๊ฐ•์„ธ์™€ ์ •ํ™•ํžˆ ๊ฐ™์Šต๋‹ˆ๋‹ค.
05:58
Away. Stress on 'way', from the crowds, stress on 'crowds'. Away from the crowds. Away from the crowds.
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๋–จ์–ด์ ธ ์žˆ๋Š”. ๊ตฐ์ค‘์˜ '๊ธธ'์— ๋Œ€ํ•œ ์ŠคํŠธ๋ ˆ์Šค, '๊ตฐ์ค‘'์— ๋Œ€ํ•œ ์ŠคํŠธ๋ ˆ์Šค. ๊ตฐ์ค‘์—์„œ ๋ฉ€๋ฆฌ. ๊ตฐ์ค‘์—์„œ ๋ฉ€๋ฆฌ.
06:08
So the first syllable of 'away', we see the letter A, but it's just the schwa.
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๊ทธ๋ž˜์„œ '์–ด์›จ์ด'์˜ ์ฒซ ์Œ์ ˆ์— A๊ฐ€ ๋ณด์ด์ง€๋งŒ ๊ทธ๋ƒฅ ์Šˆ์™€์ž…๋‹ˆ๋‹ค.
06:12
Uh, uh, uh.
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์–ด, ์–ด, ์–ด.
06:13
Away. Away from the-- They're not that clearly pronounced, are they?
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๋–จ์–ด์ ธ ์žˆ๋Š”. ๋ฉ€๋ฆฌ ๋–จ์–ด์ ธ์„œ-- ๊ทธ๊ฒƒ๋“ค์€ ๊ทธ๋ ‡๊ฒŒ ๋ช…ํ™•ํ•˜๊ฒŒ ๋ฐœ์Œ๋˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค, ๊ทธ๋ ‡์ฃ ?
06:20
Away from the crowds.
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๊ตฐ์ค‘์—์„œ ๋ฉ€๋ฆฌ.
06:23
Away from the crowds.
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๊ตฐ์ค‘์—์„œ ๋ฉ€๋ฆฌ.
06:25
Away from the crowds.
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๊ตฐ์ค‘์—์„œ ๋ฉ€๋ฆฌ.
06:28
From the-- from the-- from the--
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From the-from the-- from the--
06:30
She reduces the vowel, we would do this in spoken English, too.
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๊ทธ๋…€๋Š” ๋ชจ์Œ์„ ์ค„์ž…๋‹ˆ๋‹ค. ์šฐ๋ฆฌ๋Š” ์ด๊ฒƒ์„ ๊ตฌ์–ด์ฒด ์˜์–ด์—์„œ๋„ ํ•  ๊ฒƒ์ž…๋‹ˆ๋‹ค.
06:33
It's the schwa: from, from, from, from the, from the.
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๊ทธ๊ฒƒ์€ schwa์ž…๋‹ˆ๋‹ค :์—์„œ,์—์„œ,์—์„œ,์—์„œ,์—์„œ.
06:39
And all of these words in this phrase link together really smoothly.
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๊ทธ๋ฆฌ๊ณ  ์ด ๊ตฌ์ ˆ์— ์žˆ๋Š” ์ด ๋ชจ๋“  ๋‹จ์–ด๋“ค์€ ์ •๋ง ๋งค๋„๋Ÿฝ๊ฒŒ ์„œ๋กœ ์—ฐ๊ฒฐ๋ฉ๋‹ˆ๋‹ค.
06:43
From the--
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06:45
from the crowds. I thought heaven can't help me now.
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๊ตฐ์ค‘์œผ๋กœ๋ถ€ํ„ฐ. ์ด์ œ ํ•˜๋Š˜๋„ ๋„์™€์ค„ ์ˆ˜ ์—†๋‹ค๊ณ  ์ƒ๊ฐํ–ˆ๋‹ค.
06:50
I thought heaven-- A little bit of length on 'thought', da-da, I thought--
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๋‚˜๋Š” ์ฒœ๊ตญ์„ ์ƒ๊ฐํ–ˆ๋‹ค-- '์ƒ๊ฐ'์— ์•ฝ๊ฐ„์˜ ๊ธธ์ด, ๋‹ค-๋‹ค, ๋‚˜๋Š” ์ƒ๊ฐํ–ˆ๋‹ค--
06:55
but then more stress, more volume in the voice, heaven can't help me now, in those three syllables.
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๊ทธ๋Ÿฌ๋‚˜ ๋” ๋งŽ์€ ์ŠคํŠธ๋ ˆ์Šค, ๋” ํฐ ๋ชฉ์†Œ๋ฆฌ, ์ฒœ๊ตญ์€ ์ง€๊ธˆ ์ € ์„ธ ์Œ์ ˆ์—์„œ ๋‚˜๋ฅผ ๋„์šธ ์ˆ˜ ์—†์Šต๋‹ˆ๋‹ค.
07:05
I thought heaven can't help me now.
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์ด์ œ ํ•˜๋Š˜๋„ ๋„์™€์ค„ ์ˆ˜ ์—†๋‹ค๊ณ  ์ƒ๊ฐํ–ˆ๋‹ค.
07:08
I thought heaven can't help me now.
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์ด์ œ ํ•˜๋Š˜๋„ ๋„์™€์ค„ ์ˆ˜ ์—†๋‹ค๊ณ  ์ƒ๊ฐํ–ˆ๋‹ค.
07:11
I thought heaven can't help me now.
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์ด์ œ ํ•˜๋Š˜๋„ ๋„์™€์ค„ ์ˆ˜ ์—†๋‹ค๊ณ  ์ƒ๊ฐํ–ˆ๋‹ค.
07:14
What about the T in 'thought'? Do you hear that released?
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'์ƒ๊ฐ'์˜ T๋Š” ์–ด๋–ป์Šต๋‹ˆ๊นŒ? ์ถœ์‹œ๋˜์—ˆ๋‹ค๋Š” ์†Œ์‹์ด ๋“ค๋ฆฌ๋‚˜์š”?
07:18
Tttt..
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Tttt..
07:19
I thought--
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๋‚ด ์ƒ๊ฐ์—๋Š”--
07:23
No. There's no release. It's a stop T.
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์•„๋‹ˆ. ๋ฆด๋ฆฌ์Šค๊ฐ€ ์—†์Šต๋‹ˆ๋‹ค. ๊ทธ๊ฒƒ์€ ์ค‘์ง€ T์ž…๋‹ˆ๋‹ค.
07:26
I thought-- I thought--
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๋‚˜๋Š” ์ƒ๊ฐํ–ˆ์Šต๋‹ˆ๋‹ค-- ๋‚˜๋Š” ์ƒ๊ฐํ–ˆ์Šต๋‹ˆ๋‹ค--
07:28
I thought--
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๋‚˜๋Š” ์ƒ๊ฐํ–ˆ์Šต๋‹ˆ๋‹ค--
07:31
A T is a Stop T when the next word begins with a consonant as it does here.
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A T๋Š” ์—ฌ๊ธฐ์—์„œ์™€ ๊ฐ™์ด ๋‹ค์Œ ๋‹จ์–ด๊ฐ€ ์ž์Œ์œผ๋กœ ์‹œ์ž‘ํ•  ๋•Œ ์ค‘์ง€ T์ž…๋‹ˆ๋‹ค.
07:35
Sometimes, the beginning H is silenced, like in the word 'hour'.
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๋•Œ๋•Œ๋กœ H๋Š” '์‹œ๊ฐ„'์ด๋ผ๋Š” ๋‹จ์–ด์—์„œ์ฒ˜๋Ÿผ ๋ฌต์Œ ์ฒ˜๋ฆฌ๋ฉ๋‹ˆ๋‹ค.
07:40
But in the word 'heaven', it's not silent. We do say that H, that's a consonant sound.
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๊ทธ๋Ÿฌ๋‚˜ '์ฒœ๊ตญ'์ด๋ผ๋Š” ๋ง์—๋Š” ์นจ๋ฌต์ด ์—†๋‹ค. ์šฐ๋ฆฌ๋Š” H๋ผ๊ณ  ๋งํ•ฉ๋‹ˆ๋‹ค. ๊ทธ๊ฒƒ์€ ์ž์Œ ์†Œ๋ฆฌ์ž…๋‹ˆ๋‹ค.
07:45
So the T before is a stop T.
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๊ทธ๋ž˜์„œ ์•ž์˜ T๋Š” ์ค‘์ง€ T์ž…๋‹ˆ๋‹ค. ์ €๋Š”
07:48
I thought heaven--
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07:49
I thought heaven--
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07:51
I thought heaven--
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07:52
I thought heaven can't help me now.
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์ฒœ๊ตญ์ด๋ผ๊ณ  ์ƒ๊ฐํ–ˆ์Šต๋‹ˆ๋‹ค.
07:56
What about the T in 'can't'? Do you hear tttt, a released T?
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'ํ•  ์ˆ˜ ์—†๋‹ค'์˜ T๋Š” ์–ด๋–ป์Šต๋‹ˆ๊นŒ? tttt, ๋ฆด๋ฆฌ์Šค๋œ T๊ฐ€ ๋“ค๋ฆฌ๋‚˜์š”?
08:02
Can't help me--
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Can't help me--
08:03
Can't help me--
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Can't help me--
08:05
Can't help me--
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Can't help me--
08:06
No. T is not released that often, actually, a true T, it's not all that common.
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์•„๋‹ˆ์š”. T๋Š” ๊ทธ๋ ‡๊ฒŒ ์ž์ฃผ ์ถœ์‹œ๋˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
08:15
And in N apostrophe T contractions, there are a couple of different ways that T will be pronounced.
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๊ทธ๋ฆฌ๊ณ  N ์•„ํฌ์ŠคํŠธ๋กœํ”ผ T ์ถ•์•ฝํ˜•์—๋Š” T๊ฐ€ ๋ฐœ์Œ๋˜๋Š” ๋ช‡ ๊ฐ€์ง€ ๋‹ค๋ฅธ ๋ฐฉ์‹์ด ์žˆ์Šต๋‹ˆ๋‹ค.
08:20
Sometimes, it's totally dropped, and sometimes, it's a stop, and it's a stop here.
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๋•Œ๋กœ๋Š” ์™„์ „ํžˆ ๋–จ์–ด์กŒ๊ณ , ๋•Œ๋กœ๋Š” ๋ฉˆ์ท„๋‹ค๊ฐ€ ์—ฌ๊ธฐ์„œ ๋ฉˆ์ท„์Šต๋‹ˆ๋‹ค.
08:26
Can't help-- can't help-- can't help--
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๋„์šธ ์ˆ˜ ์—†๋‹ค-- ๋„์šธ ์ˆ˜ ์—†๋‹ค-- ๋„์šธ ์ˆ˜
08:29
It's not: can't help-- and it's also not: can't help-- but it's: can't help--
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์—†๋‹ค-- ์•„๋‹ˆ๋‹ค: ๋„์šธ ์ˆ˜ ์—†๋‹ค-- ๋˜ํ•œ โ€‹โ€‹์•„๋‹ˆ๋‹ค: ๋„์šธ ์ˆ˜ ์—†๋‹ค-- ๊ทธ๋Ÿฌ๋‚˜ ๊ทธ๊ฒƒ์€: ๋„์šธ ์ˆ˜ ์—†๋‹ค--
08:35
Little tiny lifts in the voice there. That stop signifies the T to Americans.
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์•ฝ๊ฐ„์˜ ์ž‘์€ ๋ฆฌํ”„ํŠธ ๊ฑฐ๊ธฐ ๋ชฉ์†Œ๋ฆฌ๋กœ. ๊ทธ ์ค‘์ง€๋Š” ๋ฏธ๊ตญ์ธ์—๊ฒŒ T๋ฅผ ์˜๋ฏธํ•ฉ๋‹ˆ๋‹ค.
08:41
Can't help--
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์–ด์ฉ” ์ˆ˜ ์—†์–ด์š”--
08:46
She is using a little bit more breath on the two h's, and if we exaggerate the first sound,
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๊ทธ๋…€๋Š” ๋‘ ๊ฐœ์˜ H์— ํ˜ธํก์„ ์กฐ๊ธˆ ๋” ์‚ฌ์šฉํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค. ์ฒซ ๋ฒˆ์งธ ์†Œ๋ฆฌ๋ฅผ ๊ณผ์žฅํ•˜๋ฉด
08:53
the first consonant of a word that brings a little bit more stress, a little bit more drama to it,
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๋‹จ์–ด์˜ ์ฒซ ์ž์Œ์ด ์กฐ๊ธˆ ๋” ์ŠคํŠธ๋ ˆ์Šค๋ฅผ ๋ฐ›๊ณ , ์กฐ๊ธˆ ๋” ๋“œ๋ผ๋งˆํ‹ฑํ•ด์ง‘๋‹ˆ๋‹ค.
08:58
heaven, help--
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์ฒœ๊ตญ , ๋„์™€์ค˜--
08:59
Heaven can't help--
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ํ•˜๋Š˜์ด ๋„์™€์ค„ ์ˆ˜ ์—†์–ด-- ํ•˜๋Š˜์ด
09:01
Heaven can't help--
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๋„์šธ ์ˆ˜ ์—†์–ด--
09:03
Heaven can't help me now.
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ํ•˜๋Š˜์ด ์ง€๊ธˆ ๋‚˜๋ฅผ ๋„์šธ ์ˆ˜ ์—†์–ด.
09:05
Help me now.
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์ง€๊ธˆ ๋„์™€์ฃผ์„ธ์š”.
09:07
Help.
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๋•๋‹ค.
09:08
What happens to that P? Help. Right? It's released. Help. But just like T, P is also a stop consonant.
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๊ทธ P๋Š” ์–ด๋–ป๊ฒŒ ๋ ๊นŒ์š”? ๋•๋‹ค. ์˜ค๋ฅธ์ชฝ? ์ถœ์‹œ๋˜์—ˆ์Šต๋‹ˆ๋‹ค. ๋•๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ T์™€ ๋งˆ์ฐฌ๊ฐ€์ง€๋กœ P๋„ ์ •์ง€ ์ž์Œ์ž…๋‹ˆ๋‹ค.
09:17
So the lips come together. They close. That cuts off the air. Help. And then they open, and some air escapes.
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๊ทธ๋ž˜์„œ ์ž…์ˆ ์ด ๋ชจ์ž…๋‹ˆ๋‹ค. ๊ทธ๋“ค์€ ๋‹ซ์Šต๋‹ˆ๋‹ค. ๊ทธ๊ฒƒ์€ ๊ณต๊ธฐ๋ฅผ ์ฐจ๋‹จํ•ฉ๋‹ˆ๋‹ค. ๋•๋‹ค. ๊ทธ๋Ÿฐ ๋‹ค์Œ ์—ด๋ฆฌ๋ฉด์„œ ์•ฝ๊ฐ„์˜ ๊ณต๊ธฐ๊ฐ€ ๋น ์ ธ๋‚˜๊ฐ‘๋‹ˆ๋‹ค.
09:27
That's called the release.
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๋ฆด๋ฆฌ์Šค๋ผ๊ณ  ํ•ฉ๋‹ˆ๋‹ค.
09:29
But, it's common in American English when the next word begins with a consonant
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ํ•˜์ง€๋งŒ ๋ฏธ๊ตญ์‹ ์˜์–ด์—์„œ๋Š” ์—ฌ๊ธฐ์—์„œ ๋ฆด๋ฆฌ์Šค๋ฅผ ๊ฑด๋„ˆ๋›ฐ๋Š” ๊ฒƒ์ฒ˜๋Ÿผ ๋‹ค์Œ ๋‹จ์–ด๊ฐ€ ์ž์Œ์œผ๋กœ ์‹œ์ž‘ํ•˜๋Š” ๊ฒฝ์šฐ๊ฐ€ ์ผ๋ฐ˜์ ์ž…๋‹ˆ๋‹ค
09:32
like it does here to skip the release.
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.
09:35
So you would close your lips for the P, help me,
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๊ทธ๋ž˜์„œ ๋‹น์‹ ์€ P๋ฅผ ์œ„ํ•ด ์ž…์ˆ ์„ ๋‹ซ๊ณ  ๋„์™€์ฃผ์„ธ์š”.
09:40
but then when you open them, you go right into the next word rather than releasing that air first.
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ํ•˜์ง€๋งŒ ์ž…์ˆ ์„ ์—ด๋ฉด ๊ทธ ๊ณต๊ธฐ๋ฅผ ๋จผ์ € ๋‚ด๋ฟœ์ง€ ์•Š๊ณ  ๋ฐ”๋กœ ๋‹ค์Œ ๋‹จ์–ด๋กœ ๋“ค์–ด๊ฐ‘๋‹ˆ๋‹ค.
09:46
So she's also making that a stop consonant.
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๊ทธ๋ž˜์„œ ๊ทธ๋…€๋Š” ๋˜ํ•œ ์ •์ง€ ์ž์Œ์„ ๋งŒ๋“ค๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
09:50
The L in the word 'help' is a dark L because it comes after the vowel in that syllable.
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'help'๋ผ๋Š” ๋‹จ์–ด์˜ L์€ ํ•ด๋‹น ์Œ์ ˆ์˜ ๋ชจ์Œ ๋’ค์— ์˜ค๊ธฐ ๋•Œ๋ฌธ์— ์–ด๋‘์šด L์ž…๋‹ˆ๋‹ค.
09:57
Help. Help.
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๋•๋‹ค. ๋•๋‹ค.
10:00
You actually don't need to lift your tongue tip for that.
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์ด๋ฅผ ์œ„ํ•ด ์‹ค์ œ๋กœ ํ˜€๋์„ ๋“ค์–ด ์˜ฌ๋ฆด ํ•„์š”๋Š” ์—†์Šต๋‹ˆ๋‹ค.
10:03
You've probably learned that to make an L, you lift your tongue tip.
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๋‹น์‹ ์€ ์•„๋งˆ๋„ L์„ ๋งŒ๋“ค๊ธฐ ์œ„ํ•ด ํ˜€๋์„ ๋“ค์–ด ์˜ฌ๋ฆฌ๋Š” ๊ฒƒ์„ ๋ฐฐ์› ์„ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
10:08
Uhl. But that's only for a light L.
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์œผ. ๊ทธ๋Ÿฌ๋‚˜ ๊ทธ๊ฒƒ์€ ๋ฐ์€ L์—๋งŒ ํ•ด๋‹น๋ฉ๋‹ˆ๋‹ค.
10:10
For a dark L, we usually don't lift our tongue tip.
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์–ด๋‘์šด L์˜ ๊ฒฝ์šฐ ์ผ๋ฐ˜์ ์œผ๋กœ ํ˜€๋์„ ๋“ค์–ด ์˜ฌ๋ฆฌ์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
10:13
And in fact, if you do, it makes it sound too forward in the mouth and it doesn't sound quite right.
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๊ทธ๋ฆฌ๊ณ  ์‹ค์ œ๋กœ ๊ทธ๋ ‡๊ฒŒ ํ•˜๋ฉด ์ž…์—์„œ ๋„ˆ๋ฌด ์•ž์ชฝ์œผ๋กœ ๋“ค๋ฆฌ๊ฒŒ ๋˜๊ณ  ์ œ๋Œ€๋กœ ๋“ค๋ฆฌ์ง€ ์•Š์Šต๋‹ˆ๋‹ค. ๋„์™€
10:18
Help, hel, hel, help.
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์ค˜, ํ—ฌ, ํ—ฌ, ๋„์™€์ค˜.
10:22
We don't want that. We want hel hel help.
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์šฐ๋ฆฌ๋Š” ๊ทธ๊ฒƒ์„ ์›ํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค. ์šฐ๋ฆฌ๋Š” ํ—ฌํ—ฌ ๋„์›€์„ ์›ํ•ฉ๋‹ˆ๋‹ค.
10:26
And to make that uhl, dark L sound, we don't lift the tongue tip.
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๊ทธ๋ฆฌ๊ณ  ์œผ, ์–ด๋‘์šด L ์†Œ๋ฆฌ๋ฅผ ๋‚ด๊ธฐ ์œ„ํ•ด ์šฐ๋ฆฌ๋Š” ํ˜€๋์„ ๋“ค์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
10:31
We'd leave the tongue tip down and with the back of the tongue, we press down and back a little bit.
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์šฐ๋ฆฌ๋Š” ํ˜€๋์„ ์•„๋ž˜๋กœ ๋‘๊ณ  ํ˜€์˜ ๋’ค์ชฝ์œผ๋กœ ์•ฝ๊ฐ„ ๋ˆ„๋ฅด์‹ญ์‹œ์˜ค.
10:36
Uhl.
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์œผ.
10:37
Hel-- help. Help me. Help me now.
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ํ—ฌ-- ๋„์™€์ค˜. ๋„์™€์ฃผ์„ธ์š”. ์ง€๊ธˆ ๋„์™€์ฃผ์„ธ์š”.
10:41
Help me now.
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์ง€๊ธˆ ๋„์™€์ฃผ์„ธ์š”.
10:43
Help me now.
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์ง€๊ธˆ ๋„์™€์ฃผ์„ธ์š”.
10:45
Help me now. Nothing lasts forever.
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์ง€๊ธˆ ๋„์™€์ฃผ์„ธ์š”. ์˜์›ํ•œ ๊ฒƒ์€ ์—†๋‹ค. ์šฐ๋ฆฌ๋Š” ์ด๊ฒƒ์—์„œ ์ž์Œ์—
10:49
We're really learning a lot about consonants in this, aren't we?
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๋Œ€ํ•ด ์ •๋ง ๋งŽ์€ ๊ฒƒ์„ ๋ฐฐ์šฐ๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค , ๊ทธ๋ ‡์ฃ ?
10:52
And the way she sings them is exactly like how we do them in spoken English, too.
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๋…€๊ฐ€ ๋…ธ๋ž˜๋ฅผ ๋ถ€๋ฅด๋Š” ๋ฐฉ์‹๋„ ์šฐ๋ฆฌ๊ฐ€ ์˜์–ด๋กœ ๋งํ•˜๋Š” ๋ฐฉ์‹๊ณผ ๋˜‘๊ฐ™์Šต๋‹ˆ๋‹ค.
10:56
Let's look at the next phrase. Because again, something interesting is happening with some ending consonants.
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๋‹ค์Œ ๊ตฌ์ ˆ์„ ๋ด…์‹œ๋‹ค. ๋‹ค์‹œ ๋งํ•˜์ง€๋งŒ, ์ผ๋ถ€ ๋์ž์Œ์—์„œ ํฅ๋ฏธ๋กœ์šด ์ผ์ด ์ผ์–ด๋‚˜๊ณ  ์žˆ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
11:02
Nothing lasts forever.
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์˜์›ํ•œ ๊ฒƒ์€ ์—†๋‹ค.
11:04
Nothing lasts forever.
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์˜์›ํ•œ ๊ฒƒ์€ ์—†๋‹ค.
11:07
Nothing lasts forever.
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์˜์›ํ•œ ๊ฒƒ์€ ์—†๋‹ค.
11:09
Nothing lasts forever. So first of all, our stress more volume,
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์˜์›ํ•œ ๊ฒƒ์€ ์—†๋‹ค. ๊ทธ๋ž˜์„œ ์šฐ์„ , ์šฐ๋ฆฌ์˜ ์ŠคํŠธ๋ ˆ์Šค๋Š” ๋” ๋งŽ์€ ๋ณผ๋ฅจ,
11:14
a little bit more length.
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์กฐ๊ธˆ ๋” ๊ธธ์ด์ž…๋‹ˆ๋‹ค.
11:15
Nothing lasts forever.
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์˜์›ํ•œ ๊ฒƒ์€ ์—†๋‹ค.
11:20
The middle syllable of 'forever' is what's stressed.
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'forever'์˜ ์ค‘๊ฐ„ ์Œ์ ˆ์ด ๊ฐ•์„ธ์ž…๋‹ˆ๋‹ค.
11:25
Let's talk about the NG ending here. Nothing. What do you hear?
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์—ฌ๊ธฐ์„œ NG์—”๋”ฉ์— ๋Œ€ํ•ด ์–˜๊ธฐํ•ด๋ณด์ž. ์•„๋ฌด๊ฒƒ๋„ ์•„๋‹˜. ๋ญ๊ฐ€ ๋“ค๋ ธ์–ด?
11:29
Nothing--
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์•„๋ฌด๊ฒƒ๋„--
11:30
Nothing--
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์•„๋ฌด๊ฒƒ๋„--
11:32
Nothing--
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11:32
Nothing--
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์•„๋ฌด๊ฒƒ๋„--
์•„๋ฌด๊ฒƒ๋„--
11:34
So it's a little bit different. The NG sound gets changed to an N sound. Nothin. Nothin.
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๊ทธ๋ž˜์„œ ์กฐ๊ธˆ ๋‹ค๋ฆ…๋‹ˆ๋‹ค. NG ์†Œ๋ฆฌ๊ฐ€ N ์†Œ๋ฆฌ๋กœ ๋ณ€๊ฒฝ๋ฉ๋‹ˆ๋‹ค. ์•„๋ฌด๊ฒƒ๋„. ์•„๋ฌด๊ฒƒ๋„.
11:41
It's fairly common to do that with ING ending words, especially in sung English.
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ํŠนํžˆ ์„ฑ์–ด ์˜์–ด์—์„œ ING๋กœ ๋๋‚˜๋Š” ๋‹จ์–ด๋ฅผ ์‚ฌ์šฉํ•˜๋Š” ๊ฒƒ์€ ์ƒ๋‹นํžˆ ์ผ๋ฐ˜์ ์ž…๋‹ˆ๋‹ค.
11:46
You don't want to do it all the time and spoken English, because then it would start to sound
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ํ•ญ์ƒ ์˜์–ด๋กœ ๋งํ•˜๊ณ  ์‹ถ์ง€๋Š” ์•Š์„ ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ทธ๋Ÿฌ๋ฉด
11:50
a bit like a regional accent, but definitely, everyone does it some in American English.
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์•ฝ๊ฐ„ ์ง€์—ญ ์–ต์–‘์ฒ˜๋Ÿผ ๋“ค๋ฆฌ๊ธฐ ์‹œ์ž‘ํ•  ๊ฒƒ์ด๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
11:56
Nothing--
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์•„๋ฌด๊ฒƒ๋„--
11:57
Nothing--
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์•„๋ฌด๊ฒƒ๋„--
11:58
Nothing lasts forever.
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์˜์›ํ•œ ๊ฒƒ์€ ์—†์Šต๋‹ˆ๋‹ค.
12:01
Nothing lasts forever.
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์˜์›ํ•œ ๊ฒƒ์€ ์—†๋‹ค.
12:03
Lasts.
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์ง€์†๋ฉ๋‹ˆ๋‹ค.
12:05
STS cluster and then an F right next to it. So we have four consonants in a row. How does she pronounce it?
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STS ํด๋Ÿฌ์Šคํ„ฐ์™€ ๋ฐ”๋กœ ์˜†์— ์žˆ๋Š” F. ์ž์Œ์ด ์—ฐ์†์œผ๋กœ 4๊ฐœ ์žˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋…€๋Š” ๊ทธ๊ฒƒ์„ ์–ด๋–ป๊ฒŒ ๋ฐœ์Œํ•ฉ๋‹ˆ๊นŒ?
12:14
Nothing lasts forever.
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์˜์›ํ•œ ๊ฒƒ์€ ์—†๋‹ค.
12:17
Nothing lasts forever.
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์˜์›ํ•œ ๊ฒƒ์€ ์—†๋‹ค.
12:19
Nothing lasts forever.
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์˜์›ํ•œ ๊ฒƒ์€ ์—†๋‹ค.
12:22
Well, it's definitely not: lasts forever, lasts forever.
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์Œ, ํ™•์‹คํžˆ ๊ทธ๋ ‡์ง€๋Š” ์•Š์Šต๋‹ˆ๋‹ค. ์˜์›ํžˆ ์ง€์†๋ฉ๋‹ˆ๋‹ค. ์˜์›ํžˆ ์ง€์†๋ฉ๋‹ˆ๋‹ค.
12:28
I think what she's doing is dropping these two. I think you can get away with that. Lasts forever.
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๊ทธ๋…€๊ฐ€ ํ•˜๋Š” ์ผ์€ ์ด ๋‘ ๊ฐ€์ง€๋ฅผ ๋–จ์–ด๋œจ๋ฆฌ๋Š” ๊ฒƒ์ด๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค. ๋‚˜๋Š” ๋‹น์‹ ์ด ๊ทธ๊ฒƒ์œผ๋กœ ๋ฒ—์–ด๋‚  ์ˆ˜ ์žˆ๋‹ค๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค. ์˜์›ํžˆ ์ง€์†๋ฉ๋‹ˆ๋‹ค.
12:33
Nothing lasts forever.
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์˜์›ํ•œ ๊ฒƒ์€ ์—†๋‹ค.
12:35
Everyone would know that you had said 'lasts' even though you didn't say that.
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'์ง€์†'์ด๋ผ๊ณ  ๋งํ•˜์ง€ ์•Š์•˜์–ด๋„ ๋ชจ๋‘๊ฐ€ ์•Œ๊ณ  ์žˆ์„ ๊ฒƒ์ด๋‹ค.
12:40
It's just the way that we would sometimes shorten a word.
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๊ทธ๊ฒƒ์€ ์šฐ๋ฆฌ๊ฐ€ ๋•Œ๋•Œ๋กœ ๋‹จ์–ด๋ฅผ ์ค„์ด๋Š” ๋ฐฉ์‹์ž…๋‹ˆ๋‹ค.
12:44
It's not uncommon to drop a consonant like T between two other consonants,
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๋‹ค๋ฅธ ๋‘ ๊ฐœ์˜ ์ž์Œ ์‚ฌ์ด์— T์™€ ๊ฐ™์€ ์ž์Œ์„ ๋–จ์–ด๋œจ๋ฆฌ๋Š” ๊ฒƒ์€ ๋“œ๋ฌธ ์ผ์ด ์•„๋‹ˆ๋ฉฐ,
12:49
and here we have T and S between S and F, and it's just natural to drop them and link it into the next word.
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์—ฌ๊ธฐ์„œ ์šฐ๋ฆฌ๋Š” S์™€ F ์‚ฌ์ด์— T์™€ S๊ฐ€ ์žˆ๊ณ , ๊ทธ๊ฒƒ๋“ค์„ ๋–จ์–ด๋œจ๋ฆฌ๊ณ  ๋‹ค์Œ ๋‹จ์–ด๋กœ ์—ฐ๊ฒฐํ•˜๋Š” ๊ฒƒ์€ ๋‹จ์ง€ ์ž์—ฐ์Šค๋Ÿฌ์šด ์ผ์ž…๋‹ˆ๋‹ค.
12:57
Lasts forever. Nothing lasts forever.
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์˜์›ํžˆ ์ง€์†๋ฉ๋‹ˆ๋‹ค. ์˜์›ํ•œ ๊ฒƒ์€ ์—†๋‹ค.
13:00
Natural and spoken English, as well as sung English.
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์ž์—ฐ์–ด์™€ ๊ตฌ์–ด์ฒด ์˜์–ด, ๋…ธ๋ž˜ ์˜์–ด.
13:04
Nothing lasts forever.
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์˜์›ํ•œ ๊ฒƒ์€ ์—†๋‹ค.
13:06
Nothing lasts forever.
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์˜์›ํ•œ ๊ฒƒ์€ ์—†๋‹ค.
13:09
Nothing lasts forever.
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์˜์›ํ•œ ๊ฒƒ์€ ์—†๋‹ค.
13:11
The word 'forever' you see the letter O, you might want to say 'for'
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'์˜์›ํžˆ'๋ผ๋Š” ๋‹จ์–ด์—์„œ ๋ฌธ์ž O๋ฅผ ๋ณด๊ณ  'for'๋ผ๊ณ  ๋งํ•˜๊ณ  ์‹ถ์„ ์ˆ˜๋„
13:17
but that's not how it's pronounced it's pronounced: fer-- forever, forever.
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์žˆ์ง€๋งŒ ๊ทธ๋ ‡๊ฒŒ ๋ฐœ์Œ๋˜์ง€๋Š” ์•Š์Šต๋‹ˆ๋‹ค . fer-- ์˜์›ํžˆ, ์˜์›ํžˆ.
13:23
So I would write that with the schwa: for-- eh-- and then the stressed syllable is next.
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๊ทธ๋ž˜์„œ ๋‚˜๋Š” ๊ทธ๊ฒƒ์„ schwa: for-- eh--์™€ ํ•จ๊ป˜ ์“ธ ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ทธ๋Ÿฌ๋ฉด ๊ฐ•์„ธ๊ฐ€ ์žˆ๋Š” ์Œ์ ˆ์ด ๊ทธ ๋‹ค์Œ์ž…๋‹ˆ๋‹ค.
13:29
So that syllable is not stressed, it's not: for, its: fur, fur, forever-- forever--
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๋”ฐ๋ผ์„œ ์Œ์ ˆ์— ๊ฐ•์„ธ๋ฅผ ๋‘์ง€ ์•Š์Šต๋‹ˆ๋‹ค. for, its: fur, fur, forever-- forever--
13:36
Forever.
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Forever.
13:40
Forever. But this is gonna take me down.
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์˜์›ํžˆ. ๊ทธ๋Ÿฌ๋‚˜ ์ด๊ฒƒ์€ ๋‚˜๋ฅผ ์‹ค๋ง์‹œํ‚ฌ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
13:44
But this is gonna take me down. Okay, lots of stress on 'take',
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๊ทธ๋Ÿฌ๋‚˜ ์ด๊ฒƒ์€ ๋‚˜๋ฅผ ์‹ค๋ง์‹œํ‚ฌ ๊ฒƒ์ž…๋‹ˆ๋‹ค. ์ข‹์•„, 'ํ…Œ์ดํฌ'์— ๋Œ€ํ•œ ๋งŽ์€ ์ŠคํŠธ๋ ˆ์Šค,
13:49
much more up-down shape there, higher pitch, some stress on 'this' but: this-- more volume, more intensity.
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๊ฑฐ๊ธฐ์— ํ›จ์”ฌ ๋” ์—…๋‹ค์šด ํ˜•ํƒœ, ๋” ๋†’์€ ํ”ผ์น˜, '์ด๊ฒƒ'์— ์•ฝ๊ฐ„์˜ ์ŠคํŠธ๋ ˆ์Šค ๊ทธ๋Ÿฌ๋‚˜: ์ด๊ฒƒ์€-- ๋” ๋งŽ์€ ๋ณผ๋ฅจ, ๋” ๋งŽ์€ ๊ฐ•๋„.
13:58
Take me down.
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๋‚˜๋ฅผ ์“ฐ๋Ÿฌ๋œจ๋ฆฌ์„ธ์š”.
14:00
But this is gonna take me down.
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๊ทธ๋Ÿฌ๋‚˜ ์ด๊ฒƒ์€ ๋‚˜๋ฅผ ์‹ค๋ง์‹œํ‚ฌ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
14:02
But this is gonna take me down.
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๊ทธ๋Ÿฌ๋‚˜ ์ด๊ฒƒ์€ ๋‚˜๋ฅผ ์‹ค๋ง์‹œํ‚ฌ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
14:05
But this is gonna take me down.
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๊ทธ๋Ÿฌ๋‚˜ ์ด๊ฒƒ์€ ๋‚˜๋ฅผ ์‹ค๋ง์‹œํ‚ฌ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
14:08
Let's look at the T in 'but', what happens here?
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'ํ•˜์ง€๋งŒ'์˜ T๋ฅผ ๋ด…์‹œ๋‹ค. ์—ฌ๊ธฐ์„œ ๋ฌด์Šจ ์ผ์ด ๋ฒŒ์–ด์งˆ๊นŒ์š”?
14:11
But this--
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ํ•˜์ง€๋งŒ ์ด๊ฑด--
14:12
But this--
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ํ•˜์ง€๋งŒ ์ด๊ฑด--ํ•˜์ง€๋งŒ
14:13
But this--
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์ด๊ฑด--ํ•˜์ง€๋งŒ ์ด๊ฑด--ํ•˜์ง€๋งŒ ์ด๊ฑด--ํ•˜์ง€๋งŒ
14:14
But this-- but this-- but this-- It's not but.
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์ด๊ฑด--ํ•˜์ง€๋งŒ์ด ์•„๋‹ˆ์•ผ.
14:19
It's but, but, but, but.
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ํ•˜์ง€๋งŒ, ํ•˜์ง€๋งŒ, ํ•˜์ง€๋งŒ, ํ•˜์ง€๋งŒ.
14:22
Said really quickly, it's an unstressed word,
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์ •๋ง ๋นจ๋ฆฌ ๋งํ•ด, ๊ฐ•์„ธ๊ฐ€ ์—†๋Š” ๋‹จ์–ด์•ผ,
14:24
I'd write that with a stop T. But, but, but this, but this,
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์ค‘์ง€ T๋กœ ์“ฐ๊ฒ ์–ด. But, but, but this, but this,
14:29
but this is gonna--
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14:30
but this is gonna--
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14:32
but this is gonna--
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14:33
but this is gonna--
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but this... gonna--
14:35
'Gonna', of course, short for 'going to' and all of these words linked together really smoothly.
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'Gonna'๋Š” ๋ฌผ๋ก  'going to'์˜ ์ค„์ž„๋ง์ด๋ฉฐ ์ด ๋ชจ๋“  ๋‹จ์–ด๊ฐ€ ์ •๋ง ์ž์—ฐ์Šค๋Ÿฝ๊ฒŒ ์—ฐ๊ฒฐ๋ฉ๋‹ˆ๋‹ค.
14:42
This is gonna take me down.
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์ด๊ฒƒ์€ ๋‚˜๋ฅผ ์‹ค๋ง์‹œํ‚ฌ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
14:46
No breaks.
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ํœด์‹์ด ์—†์Šต๋‹ˆ๋‹ค.
14:48
In American English, things link together really smoothly.
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๋ฏธ๊ตญ์‹ ์˜์–ด์—์„œ๋Š” ์‚ฌ๋ฌผ์ด ์ •๋ง ๋งค๋„๋Ÿฝ๊ฒŒ ์—ฐ๊ฒฐ๋ฉ๋‹ˆ๋‹ค.
14:51
Now, we have the word 'down', just like 'town'.
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์ด์ œ 'town'๊ณผ ๋งˆ์ฐฌ๊ฐ€์ง€๋กœ 'down'์ด๋ผ๋Š” ๋‹จ์–ด๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค.
14:55
It's the OW diphthong, and the N consonant.
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OW ์ด์ค‘๋ชจ์Œ๊ณผ N ์ž์Œ์ž…๋‹ˆ๋‹ค.
14:59
I know a lot of my students say something like: down, with a nasalized diphthong, we don't want that.
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๋‚˜๋Š” ๋งŽ์€ ํ•™์ƒ๋“ค์ด ๋‹ค์Œ๊ณผ ๊ฐ™์€ ๋ง์„ ํ•œ๋‹ค๋Š” ๊ฒƒ์„ ์•Œ๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
15:06
Dow-- no nasal quality at all. Dow-- and then the N sound. Dow--nnn-- Dow--nnn-- Down. Down.
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Dow-- ๋น„๊ฐ• ํ’ˆ์งˆ์ด ์ „ํ˜€ ์—†์Šต๋‹ˆ๋‹ค. Dow-- ๊ทธ๋ฆฌ๊ณ  N ์‚ฌ์šด๋“œ. ๋‹ค์šฐ--nnn-- ๋‹ค์šฐ--nnn-- ์•„๋ž˜๋กœ. ์•„๋ž˜์—.
15:18
Down.
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์•„๋ž˜์—.
15:19
Down.
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์•„๋ž˜์—.
15:20
Down. He's so tall and handsome as hell. Now, let's listen to just the words: Down.
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์•„๋ž˜์—. ๊ทธ๋Š” ํ‚ค๊ฐ€ ๋„ˆ๋ฌด ํฌ๊ณ  ์ง€์˜ฅ์ฒ˜๋Ÿผ ์ž˜ ์ƒ๊ฒผ์Šต๋‹ˆ๋‹ค. ์ด์ œ ์•„๋ž˜๋ผ๋Š” ๋‹จ์–ด๋งŒ ๋“ค์–ด๋ณด๊ฒ ์Šต๋‹ˆ๋‹ค.
15:28
He's so--
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๊ทธ๋Š” ๋„ˆ๋ฌด--
15:29
Down. He's so--
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๋‹ค์šด. ๊ทธ๋Š” ๋„ˆ๋ฌด--
15:31
Down. He's so--
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๋‹ค์šด. ๊ทธ๋Š” ๋„ˆ๋ฌด--
15:32
Down. He's so--
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๋‹ค์šด. He's so-- '
15:33
Do you notice there's no H in 'he's'?
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he's'์— H๊ฐ€ ์—†๋‹ค๋Š” ๊ฒƒ์„ ์•Œ์•„์ฑ„์…จ๋‚˜์š”?
15:36
Down. He's so-- He's so-- He's so-- Just the EE vowel.
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์•„๋ž˜์—. He's so-- He's so-- He's so-- ๊ทธ๋ƒฅ EE ๋ชจ์Œ์ž…๋‹ˆ๋‹ค.
15:40
That's a fairly common reduction. We drop the H in some of these function words like he, his, him/her,
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๊ทธ๊ฒƒ์€ ์ƒ๋‹นํžˆ ์ผ๋ฐ˜์ ์ธ ๊ฐ์†Œ์ž…๋‹ˆ๋‹ค. he, his, ๊ทธ/๊ทธ๋…€์™€ ๊ฐ™์ด ์ •๋ง ํ”ํ•œ ์ผ๋ถ€ ๊ธฐ๋Šฅ์–ด์— H๋ฅผ ๋„ฃ์Šต๋‹ˆ๋‹ค
15:47
that are really common.
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.
15:49
So she's dropped to the H there. This happens in spoken English, too.
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๊ทธ๋ž˜์„œ ๊ทธ๋…€๋Š” H๋กœ ๋–จ์–ด์กŒ์Šต๋‹ˆ๋‹ค. ์ด๊ฒƒ์€ ๊ตฌ์–ด์ฒด ์˜์–ด์—์„œ๋„ ๋ฐœ์ƒํ•ฉ๋‹ˆ๋‹ค.
15:53
Down. He's so--
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์•„๋ž˜์—. ๊ทธ๋Š” ๋„ˆ๋ฌด--
15:54
Down. He's so--
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๋‹ค์šด. ๊ทธ๋Š” ๋„ˆ๋ฌด--
15:56
Down. He's so--
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๋‹ค์šด. He's so--
15:57
The apostrophe S in 'he's' is a light week Z sound, but when it links into an S, which is stronger,
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'he's'์˜ ์•„ํฌ์ŠคํŠธ๋กœํ”ผ S๋Š” ๊ฐ€๋ฒผ์šด ์ฃผ์Œ Z ์†Œ๋ฆฌ์ด์ง€๋งŒ ๋” ๊ฐ•ํ•œ S๋กœ ์—ฐ๊ฒฐ๋˜๋ฉด
16:06
then the S tends to just take over that Z.
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S๊ฐ€ Z๋ฅผ ๋Œ€์‹ ํ•˜๋Š” ๊ฒฝํ–ฅ์ด ์žˆ์Šต๋‹ˆ๋‹ค.
16:08
So you can think that Z is not actually there. It's the EE vowel and then S. He's so-- He's so-- He's so tall.
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๋”ฐ๋ผ์„œ Z๊ฐ€ ์‹ค์ œ๋กœ๋Š” ์•„๋‹ˆ๋ผ๊ณ  ์ƒ๊ฐํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค. ๊ฑฐ๊ธฐ. EE ๋ชจ์Œ๊ณผ S์ž…๋‹ˆ๋‹ค. He's so-He's so-- He's so tall.
16:17
He's so tall.
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๊ทธ๋Š” ๋„ˆ๋ฌด ํ‚ค๊ฐ€ ํฌ๋‹ค.
16:19
He's so tall.
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๊ทธ๋Š” ๋„ˆ๋ฌด ํ‚ค๊ฐ€ ํฌ๋‹ค.
16:20
He's so tall.
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๊ทธ๋Š” ๋„ˆ๋ฌด ํ‚ค๊ฐ€ ํฌ๋‹ค.
16:22
Tall. Higher pitch. That word is stressed. He's so-- He's so tall.
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ํ‚ค๊ฐ€ ํฐ. ๋†’์€ ์Œ์ƒ‰. ๊ทธ ๋‹จ์–ด๊ฐ€ ๊ฐ•์กฐ๋ฉ๋‹ˆ๋‹ค. ๊ทธ๋Š” ์ •๋ง-- ํ‚ค๊ฐ€ ๋„ˆ๋ฌด ์ปค์š”.
16:27
He's so tall.
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๊ทธ๋Š” ๋„ˆ๋ฌด ํ‚ค๊ฐ€ ํฌ๋‹ค.
16:28
He's so tall.
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๊ทธ๋Š” ๋„ˆ๋ฌด ํ‚ค๊ฐ€ ํฌ๋‹ค.
16:30
He's so tall.
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๊ทธ๋Š” ๋„ˆ๋ฌด ํ‚ค๊ฐ€ ํฌ๋‹ค.
16:32
Tall.
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ํ‚ค๊ฐ€ ํฐ.
16:33
Also down here, hell and well, these are all Dark Ls.
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๋˜ํ•œ ์—ฌ๊ธฐ ์•„๋ž˜์—๋Š” ๋ชจ๋‘ Dark L์ž…๋‹ˆ๋‹ค.
16:39
They all come at the end of the word.
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๊ทธ๋“ค์€ ๋ชจ๋‘ ๋ง์˜ ๋์— ์˜จ๋‹ค.
16:42
And you don't need to lift your tongue tip for that. Tall, hell, well. Uhl, uhl, uhl.
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์ด๋ฅผ ์œ„ํ•ด ํ˜€๋์„ ๋“ค์–ด ์˜ฌ๋ฆด ํ•„์š”๊ฐ€ ์—†์Šต๋‹ˆ๋‹ค. ํ‚ค๊ฐ€ ํฌ๋‹ค. ์œผ, ์œผ, ์œผ.
16:50
That ending sound, that dark sound does not require tongue lift. Uhl.
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๊ทธ ์—”๋”ฉ ์‚ฌ์šด๋“œ, ๊ทธ ์–ด๋‘์šด ์‚ฌ์šด๋“œ๋Š” ํ˜€๋ฅผ ๋“ค์–ด ์˜ฌ๋ฆด ํ•„์š”๊ฐ€ ์—†์Šต๋‹ˆ๋‹ค. ์œผ.
16:55
And if you do lift your tongue, there is a chance you will mess up the dark sound.
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๊ทธ๋ฆฌ๊ณ  ํ˜€๋ฅผ ๋“ค์–ด ์˜ฌ๋ฆฌ๋ฉด ์–ด๋‘์šด ์†Œ๋ฆฌ๋ฅผ ๋ง์น  ๊ฐ€๋Šฅ์„ฑ์ด ์žˆ์Šต๋‹ˆ๋‹ค.
17:00
He's so tall.
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๊ทธ๋Š” ๋„ˆ๋ฌด ํ‚ค๊ฐ€ ํฌ๋‹ค.
17:01
He's so tall.
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๊ทธ๋Š” ๋„ˆ๋ฌด ํ‚ค๊ฐ€ ํฌ๋‹ค.
17:03
He's so tall and handsome as hell.
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๊ทธ๋Š” ํ‚ค๊ฐ€ ๋„ˆ๋ฌด ํฌ๊ณ  ์ง€์˜ฅ์ฒ˜๋Ÿผ ์ž˜ ์ƒ๊ฒผ์Šต๋‹ˆ๋‹ค.
17:07
He's so tall and handsome as hell.
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๊ทธ๋Š” ํ‚ค๊ฐ€ ๋„ˆ๋ฌด ํฌ๊ณ  ์ง€์˜ฅ์ฒ˜๋Ÿผ ์ž˜ ์ƒ๊ฒผ์Šต๋‹ˆ๋‹ค.
17:10
And-- that word is reduced. Nnnn-- you could write that schwa N, there's no D sound.
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๊ทธ๋ฆฌ๊ณ -- ๊ทธ ๋‹จ์–ด๊ฐ€ ์ค„์–ด๋“ญ๋‹ˆ๋‹ค. Nnnn-- ์Šˆ์™€ N์„ ์“ธ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค. D ์†Œ๋ฆฌ๊ฐ€ ์—†์Šต๋‹ˆ๋‹ค.
17:17
And handsome. And handsome.
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๊ทธ๋ฆฌ๊ณ  ์ž˜์ƒ๊ฒผ์–ด. ๊ทธ๋ฆฌ๊ณ  ์ž˜์ƒ๊ฒผ์–ด.
17:19
And handsome.
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๊ทธ๋ฆฌ๊ณ  ์ž˜์ƒ๊ฒผ์–ด.
17:20
And handsome.
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๊ทธ๋ฆฌ๊ณ  ์ž˜์ƒ๊ฒผ์–ด.
17:21
And handsome.
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๊ทธ๋ฆฌ๊ณ  ์ž˜์ƒ๊ฒผ์–ด.
17:22
What about the D in handsome? Not there. Handsome. Handsome.
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๋ฏธ๋‚จ์˜ D๋Š” ์–ด๋–ป์Šต๋‹ˆ๊นŒ? ๊ฑฐ๊ธฐ์— ์—†์Šต๋‹ˆ๋‹ค. ๋ฉ‹์žˆ๋Š”. ๋ฉ‹์žˆ๋Š”.
17:28
And handsome as hell.
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๊ทธ๋ฆฌ๊ณ  ์ง€์˜ฅ์ฒ˜๋Ÿผ ์ž˜ ์ƒ๊ฒผ์Šต๋‹ˆ๋‹ค.
17:30
And handsome as hell.
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๊ทธ๋ฆฌ๊ณ  ์ง€์˜ฅ์ฒ˜๋Ÿผ ์ž˜ ์ƒ๊ฒผ์Šต๋‹ˆ๋‹ค.
17:32
And handsome as hell.
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๊ทธ๋ฆฌ๊ณ  ์ง€์˜ฅ์ฒ˜๋Ÿผ ์ž˜ ์ƒ๊ฒผ์Šต๋‹ˆ๋‹ค.
17:34
And handsome as hell.
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๊ทธ๋ฆฌ๊ณ  ์ง€์˜ฅ์ฒ˜๋Ÿผ ์ž˜ ์ƒ๊ฒผ์Šต๋‹ˆ๋‹ค.
17:36
Hell with a little bit of extra breath in that H, just to bring a little bit more stress and drama to that word.
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๊ทธ ๋‹จ์–ด์— ์•ฝ๊ฐ„์˜ ์ŠคํŠธ๋ ˆ์Šค์™€ ๋“œ๋ผ๋งˆ๋ฅผ ๋”ํ•˜๊ธฐ ์œ„ํ•ด ๊ทธ H์— ์•ฝ๊ฐ„์˜ ์ถ”๊ฐ€ ํ˜ธํก์ด ์žˆ์Šต๋‹ˆ๋‹ค.
17:42
And handsome as hell. The word 'as', not pronounced with the AH vowel. That's reduced. 'As' becomes: as, as.
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๊ทธ๋ฆฌ๊ณ  ์ง€์˜ฅ์ฒ˜๋Ÿผ ์ž˜ ์ƒ๊ฒผ์Šต๋‹ˆ๋‹ค. 'as'๋ผ๋Š” ๋‹จ์–ด๋Š” AH ๋ชจ์Œ์œผ๋กœ ๋ฐœ์Œ๋˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค. ๊ฐ์†Œํ–ˆ์Šต๋‹ˆ๋‹ค. 'As'๋Š” ๋‹ค์Œ๊ณผ ๊ฐ™์ด ๋ฉ๋‹ˆ๋‹ค.
17:52
You could think of it as the schwa, or the IH as in sit vowel. Handsome as-- handsome as-- handsome as hell.
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๋‹น์‹ ์€ ๊ทธ๊ฒƒ์„ schwa๋กœ ์ƒ๊ฐํ•  ์ˆ˜ ์žˆ๊ณ , IH๋Š” ์•‰์•„์„œ ๋ชจ์Œ์œผ๋กœ ์ƒ๊ฐํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค. ์ž˜์ƒ๊ฒผ์–ด--์ž˜์ƒ๊ฒผ์–ด--์ •๋ง ์ž˜์ƒ๊ฒผ์–ด.
17:59
Handsome as hell.
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์ง€์˜ฅ์ฒ˜๋Ÿผ ์ž˜ ์ƒ๊ฒผ์–ด.
18:01
Handsome as hell.
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์ง€์˜ฅ์ฒ˜๋Ÿผ ์ž˜ ์ƒ๊ฒผ์–ด.
18:03
Handsome as hell. He's so bad but he does it so well.
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์ง€์˜ฅ์ฒ˜๋Ÿผ ์ž˜ ์ƒ๊ฒผ์–ด. ๊ทธ๋Š” ๋„ˆ๋ฌด ๋‚˜์œ๋ฐ ๋„ˆ๋ฌด ์ž˜ํ•ด.
18:08
Here, the second time I am hearing the H on he's,
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์—ฌ๊ธฐ์—์„œ ๋‘ ๋ฒˆ์งธ๋กœ H๋ฅผ ๋“ค์—ˆ์„ ๋•Œ he's,
18:12
he's so-- again, there's no Z sound, just linked together with an S sound. He's so-- he's so-- he's so-- he's so bad.
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he's so-- ๋‹ค์‹œ ๋งํ•˜์ง€๋งŒ Z ์†Œ๋ฆฌ๋Š” ์—†๊ณ  S ์†Œ๋ฆฌ์™€ ํ•จ๊ป˜ ์—ฐ๊ฒฐ๋˜์–ด ์žˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋Š” ์ •๋ง--๊ทธ๋Š”--๊ทธ๋Š” ์ •๋ง-๊ทธ๋Š” ์ •๋ง ๋‚˜์œ.
18:21
He's so bad.
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๊ทธ๋Š” ๋„ˆ๋ฌด ๋‚˜์˜๋‹ค.
18:22
He's so bad.
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๊ทธ๋Š” ๋„ˆ๋ฌด ๋‚˜์˜๋‹ค.
18:24
He's so bad but he does it so well.
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๊ทธ๋Š” ๋„ˆ๋ฌด ๋‚˜์œ๋ฐ ๋„ˆ๋ฌด ์ž˜ํ•ด.
18:27
Bad, with some stress.
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๋‚˜์œ, ์•ฝ๊ฐ„์˜ ์ŠคํŠธ๋ ˆ์Šค.
18:29
A little bit more breathy there, higher pitch, longer.
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์กฐ๊ธˆ ๋” ์ˆจ์ด ์ฐจ๊ฒŒ, ๋” ๋†’์€ ํ”ผ์น˜๋กœ, ๋” ๊ธธ๊ฒŒ.
18:34
He's so bad but he does it-- 'But he does' becomes: but he-- but he-- What? That's so weird!
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๊ทธ๋Š” ๋„ˆ๋ฌด ๋‚˜์˜์ง€๋งŒ ๊ทธ๋Š” ๊ทธ๊ฒƒ์„-- '๊ทธ๋Ÿฌ๋‚˜ ๊ทธ๋Š” ํ•œ๋‹ค'๋Š” ๋‹ค์Œ๊ณผ ๊ฐ™์ด ๋ฉ๋‹ˆ๋‹ค: ํ•˜์ง€๋งŒ ๊ทธ๋Š”--ํ•˜์ง€๋งŒ ๊ทธ๋Š”-- ๋ญ? ๋„ˆ๋ฌด ์ด์ƒํ•ด!
18:42
It sounds like B-U-D-D-Y, buddy,
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B-U-D-D-Y์ฒ˜๋Ÿผ ๋“ค๋ฆฝ๋‹ˆ๋‹ค, ์นœ๊ตฌ,
18:46
and that's because she drops the H in 'he' so we have an ending EE vowel
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๊ฒƒ์€ ๊ทธ๋…€๊ฐ€ 'he'์—์„œ H๋ฅผ ๋–จ์–ด๋œจ๋ ค ๋ EE ๋ชจ์Œ์ด
18:51
and now, the T comes between two vowels so that's a flap T.
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์žˆ๊ณ  ์ด์ œ T๊ฐ€ ๋‘ ๋ชจ์Œ ์‚ฌ์ด์— ์˜ค๋ฏ€๋กœ ํ”Œ๋žฉ T๊ฐ€ ๋˜๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
18:55
But he-- but he-- but he--
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ํ•˜์ง€๋งŒ he-- but he-- but he --
18:56
But he-- but he-- but he does it so well.
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ํ•˜์ง€๋งŒ ๊ทธ๋Š”-- ํ•˜์ง€๋งŒ ๊ทธ๋Š”-- ํ•˜์ง€๋งŒ ๊ทธ๋Š” ๊ทธ๊ฒƒ์„ ์•„์ฃผ ์ž˜ํ•ฉ๋‹ˆ๋‹ค.
19:01
This is perfectly natural and spoken English as well.
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์ด๊ฒƒ์€ ์™„๋ฒฝํ•˜๊ฒŒ ์ž์—ฐ์Šค๋Ÿฝ๊ณ  ๊ตฌ์–ด์ฒด ์˜์–ด์ด๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.
19:04
But he-- but he does it so well.
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ํ•˜์ง€๋งŒ ๊ทธ๋Š”--ํ•˜์ง€๋งŒ ๊ทธ๋Š” ๊ทธ๊ฒƒ์„ ์•„์ฃผ ์ž˜ํ•ฉ๋‹ˆ๋‹ค.
19:06
Some stress on 'does' and also a lot on 'well'. She does some interesting things with the notes there,
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'ํ•˜๋Š” ๊ฒƒ'์— ๋Œ€ํ•œ ์•ฝ๊ฐ„์˜ ๊ฐ•์กฐ์™€ '์ž˜'์— ๋Œ€ํ•œ ๋งŽ์€ ๊ฐ•์กฐ. ๊ทธ๋…€๋Š” ๊ฑฐ๊ธฐ์— ์žˆ๋Š” ๋ฉ”๋ชจ๋กœ ๋ช‡ ๊ฐ€์ง€ ํฅ๋ฏธ๋กœ์šด ์ผ์„ ํ•ฉ๋‹ˆ๋‹ค.
19:14
that is a stressed word.
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๊ทธ๊ฒƒ์€ ๊ฐ•์กฐ๋œ ๋‹จ์–ด์ž…๋‹ˆ๋‹ค.
19:16
But he does it so well.
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๊ทธ๋Ÿฌ๋‚˜ ๊ทธ๋Š” ๊ทธ๊ฒƒ์„ ์•„์ฃผ ์ž˜ํ•ฉ๋‹ˆ๋‹ค.
19:18
But he does it so well.
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๊ทธ๋Ÿฌ๋‚˜ ๊ทธ๋Š” ๊ทธ๊ฒƒ์„ ์•„์ฃผ ์ž˜ํ•ฉ๋‹ˆ๋‹ค.
19:20
But he does it so well.
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๊ทธ๋Ÿฌ๋‚˜ ๊ทธ๋Š” ๊ทธ๊ฒƒ์„ ์•„์ฃผ ์ž˜ํ•ฉ๋‹ˆ๋‹ค.
19:23
But he does it so well.
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๊ทธ๋Ÿฌ๋‚˜ ๊ทธ๋Š” ๊ทธ๊ฒƒ์„ ์•„์ฃผ ์ž˜ํ•ฉ๋‹ˆ๋‹ค.
19:25
All links together really smoothly,ending Z sound in 'does' links right into the IH vowel.
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๋ชจ๋“  ๋งํฌ๊ฐ€ ์ •๋ง ๋งค๋„๋Ÿฝ๊ฒŒ ์—ฐ๊ฒฐ๋˜์–ด 'does'๋กœ ๋๋‚˜๋Š” Z ์‚ฌ์šด๋“œ๋Š” IH ๋ชจ์Œ์œผ๋กœ ๋ฐ”๋กœ ์—ฐ๊ฒฐ๋ฉ๋‹ˆ๋‹ค. ๊ทธ๋ ‡์Šต๋‹ˆ๊นŒ?
19:30
Does it-- does it-- now, what about this T?
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๊ทธ๋ ‡์Šต๋‹ˆ๊นŒ? ์ž, ์ด T๋Š” ์–ด๋–ป์Šต๋‹ˆ๊นŒ? ๊ทธ๋ ‡์Šต๋‹ˆ๊นŒ--
19:34
Does it so--
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19:35
Does it so--
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๊ทธ๋ ‡์Šต๋‹ˆ๊นŒ-- ๊ทธ๋ ‡
19:37
Does it so--
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์Šต๋‹ˆ๊นŒ-- ๊ทธ๋ ‡์Šต๋‹ˆ๊นŒ-- ๊ทธ๋ ‡์Šต๋‹ˆ๊นŒ--
19:38
Does it so-- does it so--
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19:41
Do you hear tttt?
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tttt๊ฐ€ ๋“ค๋ฆฌ๋‚˜์š”?
19:44
It's not there. It's a stop T, does it so-- does it so--
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๊ฑฐ๊ธฐ์— ์—†์Šต๋‹ˆ๋‹ค. ๊ทธ๊ฒƒ์€ ์ •์ง€ T์ž…๋‹ˆ๋‹ค, ๊ทธ๋ ‡๊ฒŒ ํ•ฉ๋‹ˆ๊นŒ-- ๊ทธ๋ ‡๊ฒŒ ํ•ฉ๋‹ˆ๊นŒ-- ๊ทธ๊ฒƒ์€
19:49
That's because the next word begins with a consonant, the S sound.
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๋‹ค์Œ ๋‹จ์–ด๊ฐ€ ์ž์Œ์ธ S ์†Œ๋ฆฌ๋กœ ์‹œ์ž‘ํ•˜๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
19:52
Does it so well.
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๊ทธ๋ ‡๊ฒŒ ์ž˜ํ•ฉ๋‹ˆ๊นŒ?
19:54
Does it so well.
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๊ทธ๋ ‡๊ฒŒ ์ž˜ํ•ฉ๋‹ˆ๊นŒ?
19:56
Does it so well.
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๊ทธ๋ ‡๊ฒŒ ์ž˜ํ•ฉ๋‹ˆ๊นŒ?
19:58
Does it so well. I can see the end as it begins--
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๊ทธ๋ ‡๊ฒŒ ์ž˜ํ•ฉ๋‹ˆ๊นŒ? I can see the end as it started--
20:03
I can see the end as it begins--
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I can see the end as it started--
20:06
Very clear with the stress there as far as the intonation, the pitch of the song, the melody.
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์–ต์–‘, ๋…ธ๋ž˜์˜ ์Œ๋†’์ด, ๋ฉœ๋กœ๋””์— ์ด๋ฅด๊ธฐ๊นŒ์ง€ ๊ฐ•์„ธ๊ฐ€ ๋งค์šฐ ๋ถ„๋ช…ํ•ฉ๋‹ˆ๋‹ค.
20:11
I can see the end as it begins.
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์‹œ์ž‘ํ•˜๋ฉด์„œ ๋์„ ๋ณผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
20:15
'Begin', two-syllable word with second syllable stress.
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'์‹œ์ž‘', ๋‘ ๋ฒˆ์งธ ์Œ์ ˆ ๊ฐ•์„ธ๊ฐ€ ์žˆ๋Š” ๋‘ ์Œ์ ˆ ๋‹จ์–ด.
20:19
I can see the--
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I can see the--
20:21
Now, the vowel in 'the' is pronounced 'the' instead of 'the' because the next word begins with a vowel.
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์ด์ œ 'the'์˜ ๋ชจ์Œ์€ ๋‹ค์Œ ๋‹จ์–ด๊ฐ€ ๋ชจ์Œ์œผ๋กœ ์‹œ์ž‘ํ•˜๊ธฐ ๋•Œ๋ฌธ์— 'the' ๋Œ€์‹  'the'๋กœ ๋ฐœ์Œ๋ฉ๋‹ˆ๋‹ค.
20:28
So the rule is: if the next word begins with a vowel or diphthong, make it 'the'.
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๋”ฐ๋ผ์„œ ๊ทœ์น™์€ ๋‹ค์Œ๊ณผ ๊ฐ™์Šต๋‹ˆ๋‹ค. ๋‹ค์Œ ๋‹จ์–ด๊ฐ€ ๋ชจ์Œ์ด๋‚˜ ์ด์ค‘๋ชจ์Œ์œผ๋กœ ์‹œ์ž‘ํ•˜๋ฉด 'the'๋กœ ๋งŒ๋“œ์„ธ์š”.
20:35
If the next sort of begins with a consonant, make it 'the'.
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๋‹ค์Œ ์ข…๋ฅ˜์˜ ๊ฐ€ ์ž์Œ์œผ๋กœ ์‹œ์ž‘ํ•˜๋ฉด 'the'๋กœ ๋งŒ๋“ญ๋‹ˆ๋‹ค.
20:39
I can see the end--
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๋์ด ๋ณด์ธ๋‹ค-- ๋์ด
20:41
I can see the end--
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๋ณด์ธ๋‹ค-- ๋์ด
20:43
I can see the end--
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๋ณด์ธ๋‹ค--
20:45
I can see the end-- I can see the-- I can, I can, I can.
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๋์ด ๋ณด์ธ๋‹ค-- ๋‚˜๋Š” ๋์ด ๋ณด์ธ๋‹ค-- ๋‚˜๋Š” ํ•  ์ˆ˜ ์žˆ๋‹ค.
20:49
Nice 'can' reduction just like in spoken English. Can, can, can.
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๊ตฌ์–ด์ฒด ์˜์–ด์™€ ๋งˆ์ฐฌ๊ฐ€์ง€๋กœ ๋ฉ‹์ง„ 'can' ์ถ•์†Œ. ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
20:54
When it's a helping verb, that is not the main verb, the main verb is 'see'.
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๋ณธ๋™์‚ฌ๊ฐ€ ์•„๋‹Œ ์กฐ๋™์‚ฌ์ผ ๋•Œ๋Š” ๋ณธ๋™์‚ฌ๊ฐ€ 'see'์ž…๋‹ˆ๋‹ค.
20:59
Then it's going to be reduced. It's not can, its can, I can see, I can see the end.
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๊ทธ๋Ÿฌ๋ฉด ์ค„์–ด๋“ค๊ฒŒ ๋ฉ๋‹ˆ๋‹ค. ํ•  ์ˆ˜ ์—†๋‹ค, ํ•  ์ˆ˜ ์žˆ๋‹ค, ๋ณผ ์ˆ˜ ์žˆ๋‹ค, ๋์ด ๋ณด์ธ๋‹ค.
21:04
I can see the end--
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๋‚˜๋Š” ๋์„ ๋ณผ ์ˆ˜ ์žˆ๋‹ค--
21:06
I can see the end--
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๋‚˜๋Š” ๋์„ ๋ณผ ์ˆ˜ ์žˆ๋‹ค--
21:08
I can see the end as it begins.
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์‹œ์ž‘ํ•˜๋ฉด์„œ ๋์„ ๋ณผ ์ˆ˜ ์žˆ๋‹ค.
21:12
Now, here, 'as it', she doesn't reduce the vowel.
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์ž, ์—ฌ๊ธฐ์„œ '๊ทธ๋Œ€๋กœ', ๊ทธ๋…€๋Š” ๋ชจ์Œ์„ ์ค„์ด์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
21:16
It is the AA in bat vowel, and the Z sound. The Z sound links right into the next vowel IH. As it-- as it--
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๋ฐ•์ฅ ๋ชจ์Œ์˜ AA์™€ Z ์†Œ๋ฆฌ์ž…๋‹ˆ๋‹ค. Z ์†Œ๋ฆฌ๋Š” ๋ฐ”๋กœ ๋‹ค์Œ ๋ชจ์Œ IH๋กœ ์—ฐ๊ฒฐ๋ฉ๋‹ˆ๋‹ค. As it-- as it--
21:23
What do you think is gonna happen with this T? The next word begins with a consonant.
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์ด T๋กœ ๋ฌด์Šจ ์ผ์ด ์ผ์–ด๋‚  ๊ฒƒ ๊ฐ™๋‚˜์š”? ๋‹ค์Œ ๋‹จ์–ด๋Š” ์ž์Œ์œผ๋กœ ์‹œ์ž‘ํ•ฉ๋‹ˆ๋‹ค.
21:28
As it begins--
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์‹œ์ž‘ํ•˜๋ฉด์„œ-- ์‹œ์ž‘ํ•˜๋ฉด์„œ--
21:30
As it begins--
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21:32
As it begins--
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์‹œ์ž‘ํ•˜๋ฉด์„œ--
21:34
As it-- as it be-- as it-- There's no ttttt. That's a stop T.
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๊ทธ๋Œ€๋กœ-- ๊ทธ๋Œ€๋กœ-- ๊ทธ๋Œ€๋กœ-- ttttt๊ฐ€ ์—†์Šต๋‹ˆ๋‹ค. ๊ทธ๊ฒƒ์€ ์ •์ง€ T์ž…๋‹ˆ๋‹ค.
21:42
As it begins--
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์‹œ์ž‘ํ•˜๋ฉด์„œ--
21:44
As it begins--
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์‹œ์ž‘ํ•˜๋ฉด์„œ--
21:46
As it begins--
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์‹œ์ž‘ํ•˜๋ฉด์„œ--
21:48
Let's talk about the word 'begin'. So the pronunciation has the IH as in sit vowel.
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'์‹œ์ž‘'์ด๋ผ๋Š” ๋‹จ์–ด์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐํ•ด ๋ด…์‹œ๋‹ค. ๋”ฐ๋ผ์„œ ๋ฐœ์Œ์€ ์•‰์•„ ๋ชจ์Œ์—์„œ์™€ ๊ฐ™์ด IH๋ฅผ ๊ฐ–์Šต๋‹ˆ๋‹ค.
21:54
Be-- be-- begin-- begin-- But in sung English,
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Be--be--begin--begin-- ๊ทธ๋Ÿฌ๋‚˜ ์„ฑ์–ด ์˜์–ด
21:59
and sometimes in spoken English, you will hear people change this vowel a little bit.
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์™€ ๊ตฌ์–ด์ฒด ์˜์–ด์—์„œ๋Š” ์‚ฌ๋žŒ๋“ค์ด ์ด ๋ชจ์Œ์„ ์•ฝ๊ฐ„ ๋ฐ”๊พธ๋Š” ๊ฒƒ์„ ๋“ค์„ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
22:03
She doesn't say bih-- begin, she says bee-- begin.
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๊ทธ๋…€๋Š” bih-- ์‹œ์ž‘์ด๋ผ๊ณ  ๋งํ•˜์ง€ ์•Š๊ณ  bee-- ์‹œ์ž‘์ด๋ผ๊ณ  ๋งํ•ฉ๋‹ˆ๋‹ค.
22:08
Begins--
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์‹œ์ž‘ํ•ฉ๋‹ˆ๋‹ค--
22:13
So she says more of an EE as in she vowel,
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๊ทธ๋ž˜์„œ ๊ทธ๋…€๋Š” ๋ชจ์Œ์—์„œ์™€ ๊ฐ™์ด EE์— ๋Œ€ํ•ด ๋” ๋งŽ์ด ๋งํ•ฉ๋‹ˆ๋‹ค.
22:17
that's not what you'll see when you look up this word in a dictionary.
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์‚ฌ์ „์—์„œ ์ด ๋‹จ์–ด๋ฅผ ๊ฒ€์ƒ‰ํ•  ๋•Œ ๋ณผ ์ˆ˜ ์žˆ๋Š” ๊ฒƒ์€ ์•„๋‹™๋‹ˆ๋‹ค.
22:20
Though it does happen, in sung and spoken English too.
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๊ทธ๊ฒƒ์ด ์ผ์–ด๋‚˜๊ธฐ๋Š” ํ•˜์ง€๋งŒ, ๋…ธ๋ž˜์™€ ๊ตฌ์–ด์ฒด ์˜์–ด์—์„œ๋„ ๋งˆ์ฐฌ๊ฐ€์ง€์ž…๋‹ˆ๋‹ค.
22:23
But just so you know, if you're speaking, you should probably try to go with the IH vowel.
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ํ•˜์ง€๋งŒ ๋ง์„ ํ•  ๋•Œ๋Š” IH ๋ชจ์Œ์„ ์‚ฌ์šฉํ•ด์•ผ ํ•ฉ๋‹ˆ๋‹ค.
22:29
Bih-- bih-- begin, begin.
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Bih-- bih-- ์‹œ์ž‘, ์‹œ์ž‘.
22:32
What's really the most important thing about this word is that the first syllable is very short,
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์ด ๋‹จ์–ด์—์„œ ์ •๋ง ์ค‘์š”ํ•œ ๊ฒƒ์€ ์ฒซ ์Œ์ ˆ์ด ๋งค์šฐ ์งง๊ณ 
22:37
and the second syllable is a longer, so that we have a sense of the stress.
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๋‘ ๋ฒˆ์งธ ์Œ์ ˆ์ด ๊ธธ๊ธฐ ๋•Œ๋ฌธ์— ๊ฐ•์„ธ๋ฅผ ๋Š๋‚„ ์ˆ˜ ์žˆ๋‹ค๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
22:41
Bih-- bih-- begin--
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Bih-- bih-- ์‹œ์ž‘--
22:43
Begin--
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์‹œ์ž‘--
22:46
begin-- My one condition is...
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์‹œ์ž‘-- ๋‚ด ํ•œ ๊ฐ€์ง€ ์กฐ๊ฑด์€...
22:51
My one condition is...
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๋‚ด ํ•œ ๊ฐ€์ง€ ์กฐ๊ฑด์€...
22:54
So we have some stress on all of these words. One, my one condition is.
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๊ทธ๋ž˜์„œ ์šฐ๋ฆฌ๋Š” ์ด ๋ชจ๋“  ๋‹จ์–ด์— ์•ฝ๊ฐ„์˜ ๊ฐ•์„ธ๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค. ํ•˜๋‚˜, ๋‚˜์˜ ํ•œ ๊ฐ€์ง€ ์กฐ๊ฑด์€.
23:03
My one condition is...
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๋‚˜์˜ ํ•œ ๊ฐ€์ง€ ์กฐ๊ฑด์€...
23:07
My one condition is...
377
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๋‚˜์˜ ํ•œ ๊ฐ€์ง€ ์กฐ๊ฑด์€...
23:11
My one condition is...
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๋‚˜์˜ ํ•œ ๊ฐ€์ง€ ์กฐ๊ฑด์€...
23:14
Condition, three syllable word with middle syllable stress. So the first syllable is not
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์กฐ๊ฑด, ์ค‘๊ฐ„ ์Œ์ ˆ ๊ฐ•์„ธ๊ฐ€ ์žˆ๋Š” ์„ธ ์Œ์ ˆ ๋‹จ์–ด. ๋”ฐ๋ผ์„œ ์ฒซ ์Œ์ ˆ์€
23:20
cone-- or anything with more of a vowel. We see the letter O but it's the schwa. Con-- con-- condition.
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์›๋ฟ”์ด ์•„๋‹™๋‹ˆ๋‹ค. ๋˜๋Š” ๋ชจ์Œ์ด ๋” ๋งŽ์€ ๊ฒƒ์€ ์•„๋‹™๋‹ˆ๋‹ค. ์šฐ๋ฆฌ๋Š” ๋ฌธ์ž O๋ฅผ ๋ณผ ์ˆ˜ ์žˆ์ง€๋งŒ ๊ทธ๊ฒƒ์€ schwa์ž…๋‹ˆ๋‹ค. ์ฝ˜-- ์ฝ˜-- ์กฐ๊ฑด.
23:28
So just like this word 'can', which reduces to can, this syllable also reduces to: can, the same sounds.
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๋”ฐ๋ผ์„œ can์œผ๋กœ ์ถ•์†Œ๋˜๋Š” ์ด ๋‹จ์–ด 'can'๊ณผ ๋งˆ์ฐฌ๊ฐ€์ง€๋กœ ์ด ์Œ์ ˆ๋„ can์œผ๋กœ ์ถ•์†Œ๋ฉ๋‹ˆ๋‹ค.
23:35
Con-- condition. Condition.
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์กฐ๊ฑด. ์ƒํƒœ.
23:39
T in the TION here, makes the SH sound.
383
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์—ฌ๊ธฐ์„œ TION์˜ T๋Š” SH ์†Œ๋ฆฌ๋ฅผ ๋ƒ…๋‹ˆ๋‹ค.
23:42
Condition.
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์ƒํƒœ.
23:43
Condition--
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์กฐ๊ฑด--
23:45
Condition--
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์กฐ๊ฑด--
23:47
Condition is-- Say you'll remember me--
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์กฐ๊ฑด์€-- ๋‚˜๋ฅผ ๊ธฐ์–ตํ•  ๊ฑฐ๋ผ๊ณ  ๋งํ•ด--
23:52
Okay, the chorus. What's... What are our most stressed syllables in this first phrase?
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์ข‹์•„์š”, ํ›„๋ ด๊ตฌ. ์ด ์ฒซ ๊ตฌ์ ˆ์—์„œ ๊ฐ€์žฅ ๊ฐ•์„ธ๋ฅผ ๋ฐ›๋Š” ์Œ์ ˆ์€ ๋ฌด์—‡์ž…๋‹ˆ๊นŒ?
23:58
Say you'll remember me--
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๋‚˜๋ฅผ ๊ธฐ์–ตํ•œ๋‹ค๊ณ  ๋งํ•ด-- ๋‚˜๋ฅผ
24:01
Say you'll remember me--
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๊ธฐ์–ตํ•œ๋‹ค๊ณ  ๋งํ•ด-- ๋‚˜๋ฅผ
24:04
Say you'll remember me--
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๊ธฐ์–ตํ•œ๋‹ค๊ณ  ๋งํ•ด--
24:06
Say-- Say you'll remember me--
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๋งํ•ด-- ๋‚˜๋ฅผ ๊ธฐ์–ตํ•œ๋‹ค๊ณ  ๋งํ•ด--
24:13
The stressed syllables, the longer syllables, you will, you'll, becomes you'll, you'll,
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์ŠคํŠธ๋ ˆ์Šค ๋ฐ›๋Š” ์Œ์ ˆ, ๊ธด ์Œ์ ˆ์ผ์ˆ˜๋ก, you'll, you'll์ด ๋˜๋ฉด
24:20
I would write that with the schwa, it's reduced.
394
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์Šˆ์™€๋ฅผ ์‚ฌ์šฉํ•˜๋ฉด ์ค„์–ด๋“ญ๋‹ˆ๋‹ค.
24:22
Say you'll--
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Say you'll--
24:23
Say you'll--
396
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Say you'll--
24:25
Say you'll--
397
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Say you'll--
24:26
Say you'll--
398
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Say you'll--
24:27
Say you'll--
399
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Say you'll--
24:29
And again, this is a dark L.
400
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๊ทธ๋ฆฌ๊ณ  ๋‹ค์‹œ, ์ด๊ฒƒ์€ ์–ด๋‘์šด L์ž…๋‹ˆ๋‹ค.
24:31
You'll, you'll.
401
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You'll, you'll.
24:32
You do not want to lift your tongue tip for this.
402
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์ด๋ฅผ ์œ„ํ•ด ํ˜€๋์„ ๋“ค์–ด ์˜ฌ๋ฆฌ๊ณ  ์‹ถ์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
24:35
You'll, lalalala-- If you lift your tongue tip, it's probably going to interfere with the dark sound.
403
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๋„ˆ, ๋ž„๋ผ๋ž„๋ผ-- ํ˜€๋์„ ์˜ฌ๋ฆฌ๋ฉด ์•„๋งˆ๋„ ์–ด๋‘์šด ์†Œ๋ฆฌ์— ๋ฐฉํ•ด๊ฐ€ ๋  ๊ฒƒ ๊ฐ™๋‹ค.
24:41
You'll, you'll, Say you'll-- Say you'll remember me--
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You'll, you'll, Say you'll-- ๋‚˜๋ฅผ ๊ธฐ์–ตํ•œ๋‹ค๊ณ -- ๋‚˜๋ฅผ
24:46
Say you'll remember me--
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๊ธฐ์–ตํ•œ๋‹ค๊ณ -- ๋‚˜๋ฅผ
24:48
Say you'll remember me--
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๊ธฐ์–ตํ•œ๋‹ค๊ณ --
24:51
Say you'll remember me--
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๋‚˜๋ฅผ ๊ธฐ์–ตํ•œ๋‹ค๊ณ --
24:54
Also note, it's not remember, ree, ree, it's rih, rih, with the IH as in sit vowel.
408
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๋˜ํ•œ โ€‹โ€‹์ฐธ๊ณ ํ•˜์„ธ์š”. ree, ree, IH๊ฐ€ ์•‰์•„ ์žˆ๋Š” ๋ชจ์Œ๊ณผ ๊ฐ™์ด rih, rih๋ผ๋Š” ๊ฒƒ์„ ๊ธฐ์–ตํ•˜์ง€ ๋งˆ์‹ญ์‹œ์˜ค.
25:02
Rih-- rih--remember-- remember-- EH as in bed vowel in the stressed syllable.
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Rih-- rih--๊ธฐ์–ตํ•˜๋‹ค--๊ธฐ์–ตํ•˜๋‹ค-- ๊ฐ•์„ธ๊ฐ€ ์žˆ๋Š” ์Œ์ ˆ์˜ ์นจ๋Œ€ ๋ชจ์Œ์—์„œ์ฒ˜๋Ÿผ EH.
25:08
Remember, remember me--
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๊ธฐ์–ตํ•ด, ๊ธฐ์–ตํ•ด--
25:10
Remember me--
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๊ธฐ์–ตํ•ด--
25:14
Remember me-- Standing in a nice dress--
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๊ธฐ์–ตํ•ด-- ๋ฉ‹์ง„ ๋“œ๋ ˆ์Šค๋ฅผ ์ž…๊ณ  ์„œ ์žˆ์–ด--
25:18
Standing in a nice dress--
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๋ฉ‹์ง„ ๋“œ๋ ˆ์Šค๋ฅผ ์ž…๊ณ  ์„œ ์žˆ์–ด--
25:22
Standing in a nice dress--
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๋ฉ‹์ง„ ๋“œ๋ ˆ์Šค๋ฅผ ์ž…๊ณ  ์„œ ์žˆ์–ด--
25:24
Nice, the most stressed word there.
415
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์ข‹์•„, ๊ฑฐ๊ธฐ์—์„œ ๊ฐ€์žฅ ๊ฐ•์กฐ๋˜๋Š” ๋‹จ์–ด.
25:27
The ING ending is again, turned into an N ending, standin' not standing.
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ING์—”๋”ฉ์€ ๋‹ค์‹œ N์—”๋”ฉ์œผ๋กœ ๋ฐ”๋€Œ์–ด ์„œ์žˆ์ง€ ์•Š๊ณ  ์„œ์žˆ์Šต๋‹ˆ๋‹ค.
25:34
Standin' in a-- standin' in a--
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Standin' in a-- standin' in a--
25:38
And and they all link together really smoothly. The letter A is just the schwa.
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๋“ค์€ ๋ชจ๋‘ ์ •๋ง ๋งค๋„๋Ÿฝ๊ฒŒ ํ•จ๊ป˜ ์—ฐ๊ฒฐ๋ฉ๋‹ˆ๋‹ค. ๋ฌธ์ž A๋Š” ๊ทธ๋ƒฅ ์Šˆ์™€์ž…๋‹ˆ๋‹ค.
25:42
Standin' in a nice--
419
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Standin' in a nice--
25:46
Standing in a nice dress--
420
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Standing in a nice dress--
25:48
Standing in a nice dress--
421
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Standing in a nice dress--
25:51
Standing in a nice dress--
422
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Standing in a nice dress--
25:53
Lots of Ns in this phrase.
423
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์ด ๋ฌธ๊ตฌ์—๋Š” ๋งŽ์€ N์ด ์žˆ์Šต๋‹ˆ๋‹ค.
25:55
Standing in a nice--
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standing in a nice--
25:59
Standing in a nice--
425
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standing in a nice--
26:01
Standing in a nice--
426
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standing in a nice--
26:03
Standing in a nice--
427
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standing in a nice--
26:05
The vowel in 'stand' is AA as in bat, but when that's followed by N like it is here, it changes, it's not pure.
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'stand'์˜ ๋ชจ์Œ์€ bat์—์„œ์™€ ๊ฐ™์ด AA์ธ๋ฐ, ๊ทธ ๋’ค์— N์ด ์—ฌ๊ธฐ์ฒ˜๋Ÿผ ๋ถ™์œผ๋ฉด ๋ฐ”๋€๋‹ˆ๋‹ค. ์ˆœ์ˆ˜ํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
26:13
That would be stand, and that's not how we say it, we say stand.
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๊ทธ๊ฒƒ์€ ์Šคํƒ ๋“œ์ผ ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ทธ๋ฆฌ๊ณ  ์šฐ๋ฆฌ๊ฐ€ ๋งํ•˜๋Š” ๋ฐฉ์‹์ด ์•„๋‹ˆ๋ผ ์Šคํƒ ๋“œ๋ผ๊ณ  ํ•ฉ๋‹ˆ๋‹ค.
26:18
Uh uh. There's more of an UH vowel in the middle because the back of the tongue relaxes
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์–ด ์–ด. ํ˜€์˜ ์•ž๋ถ€๋ถ„์ด N์œผ๋กœ ์˜ฌ๋ผ๊ฐ€๊ธฐ ์ „์— ํ˜€์˜ ๋’ท๋ถ€๋ถ„์ด ์ด์™„๋˜๊ธฐ ๋•Œ๋ฌธ์— ์ค‘๊ฐ„์— UH ๋ชจ์Œ์ด ๋” ๋งŽ์ด ์žˆ์Šต๋‹ˆ๋‹ค.
26:23
before the front of the tongue goes up for the N.
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26:26
Sta-- standin-- standin' in a nice dress--
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Sta-- standin-- ๋ฉ‹์ง„ ๋“œ๋ ˆ์Šค๋ฅผ ์ž…๊ณ  ์„œ ์žˆ์Šต๋‹ˆ๋‹ค--
26:33
The letters CE here, the S sound, which goes right into the next sound, the consonant cluster.
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์—ฌ๊ธฐ CE ๊ธ€์ž, S ์†Œ๋ฆฌ , ๋‹ค์Œ ์†Œ๋ฆฌ์ธ ์ž์Œ ํด๋Ÿฌ์Šคํ„ฐ๋กœ ๋ฐ”๋กœ ์ด๋™ํ•ฉ๋‹ˆ๋‹ค.
26:41
Standing in a nice dress--
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Standing in a nice dress--
26:43
Standing in a nice dress--
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Standing in a nice dress--
26:46
Standing in a nice dress--
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Standing in a nice dress--
26:48
DR, now this can be pronounced JR.
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DR, ์ด์ œ ์ด๊ฒƒ์€ JR๋กœ ๋ฐœ์Œํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
26:53
Jr-- jr-- dress.
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์ฃผ๋‹ˆ์–ด-- ์ฃผ๋‹ˆ์–ด-- ๋“œ๋ ˆ์Šค.
26:56
Instead of dd-- dress, dress.
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dd-- ๋“œ๋ ˆ์Šค ๋Œ€์‹  ๋“œ๋ ˆ์Šค, ๋“œ๋ ˆ์Šค.
26:59
The JR sound is actually more common, and that's what she does here. Nice dress. Nice dress.
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JR ์†Œ๋ฆฌ๋Š” ์‹ค์ œ๋กœ ๋” ์ผ๋ฐ˜์ ์ด๋ฉฐ ๊ทธ๋…€๊ฐ€ ์—ฌ๊ธฐ์„œ ํ•˜๋Š” ์ผ์ž…๋‹ˆ๋‹ค. ์ข‹์€ ๋“œ๋ ˆ์Šค. ์ข‹์€ ๋“œ๋ ˆ์Šค.
27:06
Jjjj-- instead of ddd---
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Jjjj-- ๋Œ€์‹  ddd---
27:10
Nice dress--
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nice dress--
27:13
nice dress-- Starin' at the sunset, babe--
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nice dress-- Starin' at the sunset, babe--
27:17
Starin' at the sunset--
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Starin' at the sunset--
27:21
Okay, again, the ING ending is turned into an IN ending.
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์ข‹์•„์š”, ๋‹ค์‹œ ING ์—”๋”ฉ์ด IN ์—”๋”ฉ์œผ๋กœ ๋ฐ”๋€๋‹ˆ๋‹ค.
27:27
Starin-- starin--
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Starin-- starin--
27:30
Now, we have at. Is that pronounced with a full vowel? Or is the vowel reduced?
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์ง€๊ธˆ, ์šฐ๋ฆฌ๋Š” ์žˆ์Šต๋‹ˆ๋‹ค. ํ’€๋ชจ์Œ์œผ๋กœ ๋ฐœ์Œํ•˜๋‚˜์š”? ์•„๋‹ˆ๋ฉด ๋ชจ์Œ์ด ์ค„์–ด๋“œ๋‚˜์š”?
27:35
Starin' at the sunset, babe--
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Starin' at the sunset, babe--
27:38
Starin' at the sunset, babe--
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Starin' at the sunset, babe--
27:41
Starin' at the sunset, babe--
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Starin' at the sunset, babe--
27:43
She does fully pronounce it. Starin' at-- at the--
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๊ทธ๋…€๋Š” ์™„์ „ํžˆ ๋ฐœ์Œํ•ฉ๋‹ˆ๋‹ค. Starin' at-- at the--
27:48
that is a stop T though because the next word begins with a consonant. Starin' at the sunset.
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๋‹ค์Œ ๋‹จ์–ด๊ฐ€ ์ž์Œ์œผ๋กœ ์‹œ์ž‘ํ•˜๊ธฐ ๋•Œ๋ฌธ์— ๊ทธ๊ฒƒ์€ ์ค‘์ง€ T์ž…๋‹ˆ๋‹ค. ์„์–‘์„ ๋ฐ”๋ผ๋ณด๋ฉฐ.
27:54
Starin' at the sunset.
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์„์–‘์„ ๋ฐ”๋ผ๋ณด๋ฉฐ.
27:57
Starin' at the sunset.
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์„์–‘์„ ๋ฐ”๋ผ๋ณด๋ฉฐ.
27:59
Starin' at the sunset.
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์„์–‘์„ ๋ฐ”๋ผ๋ณด๋ฉฐ.
28:01
Sunset is a compound word and in compound words, it's the first word that's stressed.
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Sunset์€ ํ•ฉ์„ฑ์–ด์ด๊ณ  ํ•ฉ์„ฑ์–ด๋กœ๋Š” ์ฒซ ๋ฒˆ์งธ๋กœ ๊ฐ•์„ธ๋ฅผ ๋ฐ›๋Š” ๋‹จ์–ด์ž…๋‹ˆ๋‹ค.
28:07
So in this case, Sun-- sunset-- Okay, we have another ending T here.
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์ด ๊ฒฝ์šฐ์—๋Š” Sun-- sunset-- ์ข‹์Šต๋‹ˆ๋‹ค. ์—ฌ๊ธฐ์— ๋‹ค๋ฅธ ์—”๋”ฉ T๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค.
28:12
What do you think? Are we gonna hear a tttt-- released T?
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์–ด๋–ป๊ฒŒ ์ƒ๊ฐํ•˜๋‚˜์š”? tttt-- ๋ฆด๋ฆฌ์Šค T๋ฅผ ๋“ฃ๊ฒŒ ๋ ๊นŒ์š”?
28:16
Sunset.
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์ผ๋ชฐ.
28:20
Sunset. No, we did not hear a released T, that was a stop T.
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์ผ๋ชฐ. ์•„๋‹ˆ์š”, ์šฐ๋ฆฌ๋Š” ์ค‘์ง€ T์ธ ๋ฆด๋ฆฌ์Šค T๋ฅผ ๋“ฃ์ง€ ๋ชปํ–ˆ์Šต๋‹ˆ๋‹ค.
28:26
Sunset, babe.
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Sunset, babe.
28:28
So the next word begins with a consonant, also this, the rule is if the T is at the end of a thought group,
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๋”ฐ๋ผ์„œ ๋‹ค์Œ ๋‹จ์–ด๋Š” ์ž์Œ์œผ๋กœ ์‹œ์ž‘ํ•ฉ๋‹ˆ๋‹ค. ๊ทœ์น™์€ T๊ฐ€ ์ƒ๊ฐ ๊ทธ๋ฃน์˜ ๋์— ์žˆ์œผ๋ฉด
28:36
then it will also be a stop T. Now, an exception to this would be if it's in a cluster like in the word 'connect'.
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์ค‘์ง€ T์ด๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค. ์ด์ œ ์˜ˆ์™ธ๋Š” ๋‹ค์Œ๊ณผ ๊ฐ™์€ ํด๋Ÿฌ์Šคํ„ฐ์— ์žˆ๋Š” ๊ฒฝ์šฐ์ž…๋‹ˆ๋‹ค. '์—ฐ๊ฒฐ'์ด๋ผ๋Š” ๋‹จ์–ด์—์„œ.
28:43
Then in clusters, it's often pronounced.
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๊ทธ๋Ÿฐ ๋‹ค์Œ ํด๋Ÿฌ์Šคํ„ฐ์—์„œ ์ข…์ข… ๋ฐœ์Œ๋ฉ๋‹ˆ๋‹ค.
28:46
But when it's not in a cluster, like here, and it's at the end of a sentence, end of a thought group,
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ํ•˜์ง€๋งŒ ์—ฌ๊ธฐ์ฒ˜๋Ÿผ ํด๋Ÿฌ์Šคํ„ฐ์— ์žˆ์ง€ ์•Š๊ณ  ๋ฌธ์žฅ์˜ ๋, ์‚ฌ๊ณ  ๊ทธ๋ฃน์˜ ๋์ผ ๋•Œ
28:51
very common to make that a stop T,
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์ค‘์ง€ T๋กœ ๋งŒ๋“ค๊ณ 
28:54
sung English, and spoken English.
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์˜์–ด๋ฅผ ๋ถ€๋ฅด๊ณ  ์˜์–ด๋ฅผ ๊ตฌ์‚ฌํ•˜๋Š” ๊ฒƒ์ด ๋งค์šฐ ์ผ๋ฐ˜์ ์ž…๋‹ˆ๋‹ค.
28:56
Sunset.
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์ผ๋ชฐ.
29:00
babe... Red lips and rosy cheeks...
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์ž๊ธฐ์•ผ... ๋ถ‰์€ ์ž…์ˆ ๊ณผ ์žฅ๋ฐ‹๋น› ๋ณผ...
29:04
Red lips and rosy cheeks... Our descriptor words, are a little bit more stressed.
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๋ถ‰์€ ์ž…์ˆ ๊ณผ ์žฅ๋ฐ‹๋น› ๋ณผ... ์šฐ๋ฆฌ์˜ ์ˆ˜์‹์–ด๋Š” ์กฐ๊ธˆ ๋” ๊ฐ•์กฐ๋œ๋‹ค.
29:10
Red lips and rosy cheeks...
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๋ถ‰์€ ์ž…์ˆ ๊ณผ ์žฅ๋ฐ‹๋น› ๋ณผ..
29:13
A little bit of length on 'cheeks' as well, the word 'and' reduced, D is dropped, and, and, and.
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'๋บจ'๋„ ์กฐ๊ธˆ ๊ธธ๊ฒŒ, '๊ทธ๋ฆฌ๊ณ '๋ผ๋Š” ๋‹จ์–ด๋ฅผ ์ค„์ด๊ณ , D๋ฅผ ๋–จ์–ด๋œจ๋ฆฌ๊ณ , ๊ทธ๋ฆฌ๊ณ , ๊ทธ๋ฆฌ๊ณ .
29:21
Red lips and rosy-- and, and.
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๋ถ‰์€ ์ž…์ˆ ๊ณผ ์žฅ๋ฐ‹๋น›-- ๊ทธ๋ฆฌ๊ณ , ๊ทธ๋ฆฌ๊ณ .
29:24
Red lips and rosy cheeks...
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๋ถ‰์€ ์ž…์ˆ ๊ณผ ์žฅ๋ฐ‹๋น› ๋บจ...
29:27
Red lips and rosy cheeks...
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๋ถ‰์€ ์ž…์ˆ ๊ณผ ์žฅ๋ฐ‹๋น› ๋บจ...
29:29
Red lips and rosy cheeks...
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๋ถ‰์€ ์ž…์ˆ ๊ณผ ์žฅ๋ฐ‹๋น› ๋บจ...
29:32
Red lips. So the D sound is not released. It's not red lips. Red lips. But it's red lips.
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๋ถ‰์€ ์ž…์ˆ . ๊ทธ๋ž˜์„œ D์Œ์ด ๋‚˜์˜ค์ง€ ์•Š์Šต๋‹ˆ๋‹ค. ๋นจ๊ฐ„ ์ž…์ˆ ์ด ์•„๋‹™๋‹ˆ๋‹ค. ๋ถ‰์€ ์ž…์ˆ . ํ•˜์ง€๋งŒ ๋นจ๊ฐ„ ์ž…์ˆ ์ž…๋‹ˆ๋‹ค.
29:40
So the tongue goes up, the D sound is made with the vocal cords.
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๊ทธ๋ž˜์„œ ํ˜€๊ฐ€ ์˜ฌ๋ผ๊ฐ€๊ณ  ์„ฑ๋Œ€๊ฐ€ D ์†Œ๋ฆฌ๋ฅผ ๋‚ธ๋‹ค.
29:44
Red.
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๋นจ๊ฐ„์ƒ‰.
29:46
But then rather than releasing air, she just goes right into the next sound, the L consonant.
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๊ทธ๋Ÿฌ๋‚˜ ๊ทธ๋…€๋Š” ์ˆจ์„ ๋‚ด์‰ฌ๋Š” ๋Œ€์‹  ๋ฐ”๋กœ ๋‹ค์Œ ์†Œ๋ฆฌ์ธ L ์ž์Œ์œผ๋กœ ๋„˜์–ด๊ฐ‘๋‹ˆ๋‹ค.
29:52
This is true of spoken English too, if the D is followed by a word that begins the consonant, it's not red lips,
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์ด๊ฒƒ์€ ๊ตฌ์–ด์ฒด ์˜์–ด์—์„œ๋„ ๋งˆ์ฐฌ๊ฐ€์ง€์ž…๋‹ˆ๋‹ค. D ๋’ค์— ์ž์Œ์œผ๋กœ ์‹œ์ž‘ํ•˜๋Š” ๋‹จ์–ด๊ฐ€ ์˜ค๋ฉด ๋นจ๊ฐ„ ์ž…์ˆ ์ด ์•„๋‹ˆ๋ผ
30:00
it's not released like that.
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๊ทธ๋ ‡๊ฒŒ ํ’€์–ด์ง€์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
30:01
Red lips, red lips. There's just a really subtle D sound before the next word.
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๋ถ‰์€ ์ž…์ˆ , ๋ถ‰์€ ์ž…์ˆ . ๋‹ค์Œ ๋‹จ์–ด ์•ž์— ์ •๋ง ๋ฏธ๋ฌ˜ํ•œ D ์†Œ๋ฆฌ๊ฐ€ ๋‚ฉ๋‹ˆ๋‹ค.
30:07
Red lips--
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๋นจ๊ฐ„ ์ž…์ˆ --
30:09
Red lips and rosy cheeks...
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๋นจ๊ฐ„ ์ž…์ˆ ๊ณผ ์žฅ๋ฐ‹๋น› ๋บจ...
30:12
The letter s in Rosie is a Z sound. Rosy cheeks. Zzzzz. Rosy cheeks.
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Rosie์˜ s๋Š” Z ์†Œ๋ฆฌ์ž…๋‹ˆ๋‹ค. ๋ถ„ํ™๋น› ๋บจ. Zzzzz. ๋ถ„ํ™๋น› ๋บจ.
30:18
Rosy cheeks.
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๋ถ„ํ™๋น› ๋บจ.
30:20
Rosy cheeks.
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๋ถ„ํ™๋น› ๋บจ.
30:22
Rosy cheeks. Say you'll see me again...
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๋ถ„ํ™๋น› ๋บจ. ๋‚˜๋ฅผ ๋‹ค์‹œ ๋ณธ๋‹ค๊ณ ... ๋‹ค์‹œ
30:26
Say you'll see me again...
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๋ณธ๋‹ค๊ณ ...
30:28
Okay, now here's the first time she does something that's really different than spoken English.
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์ข‹์•„์š”, ์ด์ œ ๊ทธ๋…€๊ฐ€ ๋งํ•˜๋Š” ์˜์–ด์™€ ์ •๋ง ๋‹ค๋ฅธ ๋ฌด์–ธ๊ฐ€๋ฅผ ํ•˜๋Š” ๊ฒƒ์€ ์ด๋ฒˆ์ด ์ฒ˜์Œ์ž…๋‹ˆ๋‹ค.
30:35
So we have: Say you'll see me again... And that is not the way that we would stress that word.
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๊ทธ๋ž˜์„œ ์šฐ๋ฆฌ๋Š”: ๋‹น์‹ ์ด ๋‚˜๋ฅผ ๋‹ค์‹œ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ด๋ผ๊ณ  ๋งํ•ด... ๊ทธ๋ฆฌ๊ณ  ๊ทธ๊ฒƒ์€ ์šฐ๋ฆฌ๊ฐ€ ๊ทธ ๋‹จ์–ด๋ฅผ ๊ฐ•์กฐํ•˜๋Š” ๋ฐฉ์‹์ด ์•„๋‹™๋‹ˆ๋‹ค.
30:44
She's just doing that for effect in her song. It's not a-gain, it's again, it's again, with second syllable stress.
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๊ทธ๋…€๋Š” ๋‹จ์ง€ ๊ทธ๋…€์˜ ๋…ธ๋ž˜์—์„œ ํšจ๊ณผ๋ฅผ ๋‚ด๊ธฐ ์œ„ํ•ด ๊ทธ๋ ‡๊ฒŒ ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๊ฒƒ์€ ์ด๋“์ด ์•„๋‹™๋‹ˆ๋‹ค, ๊ทธ๊ฒƒ์€ ๋‹ค์‹œ, ๊ทธ๊ฒƒ์€ ๋‹ค์‹œ, ๋‘ ๋ฒˆ์งธ ์Œ์ ˆ ๊ฐ•์„ธ๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค.
30:51
The first syllable is just a very fast schwa in spoken English. Uh, uh, uh, again, again.
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์ฒซ ์Œ์ ˆ์€ ๊ตฌ์–ด์ฒด ์˜์–ด์—์„œ ๋งค์šฐ ๋น ๋ฅธ ์Šˆ์™€์ž…๋‹ˆ๋‹ค. ์–ด, ์–ด, ์–ด, ๋‹ค์‹œ, ๋‹ค์‹œ.
30:58
Say you'll see me again...
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๋‚˜๋ฅผ ๋‹ค์‹œ ๋ณธ๋‹ค๊ณ ... ๋‚˜๋ฅผ ๋‹ค์‹œ
31:00
Say you'll see me again...
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๋ณธ๋‹ค๊ณ ...
31:02
Say you'll see me again...
497
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๋‹ค์‹œ ๋‚˜๋ฅผ ๋ณธ๋‹ค๊ณ ... ๋‚˜๋ฅผ
31:04
Say you'll see me again...
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๋‹ค์‹œ ๋ณธ๋‹ค๊ณ ...
31:06
And she even... She changes the vowel, she makes it more like: ah, ah, again, ah.
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๋…€๋Š” ์‹ฌ์ง€์–ด... ๋ชจ์Œ์„ ๋ฐ”๊ฟ‰๋‹ˆ๋‹ค. , ๊ทธ๋…€๋Š” ๊ทธ๊ฒƒ์„ ๋” ์ข‹์•„ํ•˜๊ฒŒ ๋งŒ๋“ญ๋‹ˆ๋‹ค: ์•„, ์•„, ๋‹ค์‹œ, ์•„.
31:12
But in spoken English, it's the schwa. Uh, uh, uh.
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ํ•˜์ง€๋งŒ ๊ตฌ์–ด์ฒด ์˜์–ด๋กœ๋Š” schwa์ž…๋‹ˆ๋‹ค. ์–ด, ์–ด, ์–ด.
31:16
Again...
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๋‹ค์‹œ...
31:20
You'll see me-- you'll see me--
502
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You'll see me-- you'll see me--
31:22
Again, don't need to lift the tongue tip here, this is a dark L, it's not you'll, it's yuhl, yuhl, reduced.
503
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๋‹ค์‹œ ๋งํ•˜์ง€๋งŒ ์—ฌ๊ธฐ์„œ ํ˜€๋์„ ๋“ค์–ด์˜ฌ๋ฆด ํ•„์š”๋Š” ์—†์Šต๋‹ˆ๋‹ค. ์ด๊ฒƒ์€ ์–ด๋‘์šด L์ž…๋‹ˆ๋‹ค.
31:30
You'll, you'll--
504
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You'll, you'll--
31:32
Say you'll,
505
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Say you'll,
31:34
Say you'll see me again even if it's just in your---
506
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Say you'll see me again even if it's in your---
31:38
Even if it's just in your---
507
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If it's just in your---
31:42
Even-- stress there.
508
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Even-- stress there.
31:44
Even if it's just in your--- And then held out, building up to the title of the song.
509
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๊ทธ๊ฒƒ์ด ๋‹น์‹ ์˜--- ๊ทธ๋ฆฌ๊ณ  ๋…ธ๋ž˜ ์ œ๋ชฉ์— ์ด๋ฅด๊ธฐ๊นŒ์ง€ ๋ฒ„ํ…ผ์Šต๋‹ˆ๋‹ค.
31:55
even if it's just in your---
510
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even if it's just in your--
31:58
even if it's just in your---
511
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even if it is just in your---
32:01
even if it's just in your---
512
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even if it's just in your---
32:04
Even if it's just--
513
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Even if it's just--
32:06
So the stress here is the same as it would be in spoken English, stressed on the stressed vowel EE,
514
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๋”ฐ๋ผ์„œ ์—ฌ๊ธฐ์„œ ๊ฐ•์„ธ๋Š” ๊ตฌ์–ด์ฒด ์˜์–ด์—์„œ์™€ ๋™์ผํ•ฉ๋‹ˆ๋‹ค. ๊ฐ•์„ธ๊ฐ€ ์žˆ๋Š” ๋ชจ์Œ EE,
32:11
then we have three unstressed syllables in a row.
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๊ทธ๋Ÿฌ๋ฉด ๊ฐ•์„ธ๊ฐ€ ์—†๋Š” ์„ธ ์Œ์ ˆ์ด ์—ฐ์†์œผ๋กœ ์žˆ์Šต๋‹ˆ๋‹ค.
32:13
Even if it's -- even if it's-- even if it's just in---
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๋น„๋ก ๊ทธ๊ฒƒ์ด---------------
32:18
Now the T in 'just' is not dropped, it's part of a cluster.
517
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์ด์ œ '๋‹จ์ง€'์˜ T๋Š” ์‚ญ์ œ๋˜์ง€ ์•Š๊ณ  ํด๋Ÿฌ์Šคํ„ฐ์˜ ์ผ๋ถ€์ž…๋‹ˆ๋‹ค.
32:22
But the reason why it's not dropped is because the next word begins with a vowel.
518
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๊ทธ๋Ÿฐ๋ฐ ์ด๊ฒƒ์ด ๋–จ์–ด์ง€์ง€ ์•Š๋Š” ์ด์œ ๋Š” ๋‹ค์Œ ๋‹จ์–ด๊ฐ€ ๋ชจ์Œ์œผ๋กœ ์‹œ์ž‘ํ•˜๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
32:27
If the next word began with a consonant, like in the phrase: just my, just my, just my.
519
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๋‹ค์Œ ๋‹จ์–ด๊ฐ€ ๋‹ค์Œ๊ณผ ๊ฐ™์ด ์ž์Œ์œผ๋กœ ์‹œ์ž‘ํ•˜๋Š” ๊ฒฝ์šฐ: just my, just my, just my.
32:33
Then we drop that T because it comes between two consonants.
520
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๊ทธ๋Ÿฐ ๋‹ค์Œ ๋‘ ์ž์Œ ์‚ฌ์ด์— ์˜ค๊ธฐ ๋•Œ๋ฌธ์— T๋ฅผ ์‚ญ์ œํ•ฉ๋‹ˆ๋‹ค.
32:36
But in the word 'just' when the next word begins with a vowel or diphthong, you probably will hear that T.
521
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ํ•˜์ง€๋งŒ 'just'๋ผ๋Š” ๋‹จ์–ด์—์„œ ๋‹ค์Œ ๋‹จ์–ด๊ฐ€ ๋ชจ์Œ์ด๋‚˜ ์ด์ค‘๋ชจ์Œ์œผ๋กœ ์‹œ์ž‘ํ•˜๋ฉด ์•„๋งˆ T๋กœ ๋“ค๋ฆด ๊ฒƒ์ž…๋‹ˆ๋‹ค.
32:42
Just in-- ttt-- Just in--
522
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32:45
Even if it's just in---
523
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32:47
Even if it's just in---
524
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--
32:49
Even if it's just in your--
525
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๊ทธ๊ฒƒ์ด ๋‹จ์ง€ ๋‹น์‹  ์•ˆ์— ์žˆ๋”๋ผ๋„--
32:52
And 'your' is not reduced.
526
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๊ทธ๋ฆฌ๊ณ  '๋‹น์‹ ์˜'๋Š” ์ค„์–ด๋“ค์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
32:55
Your-- now, normally in spoken English, we wouldn't stress that so much.
527
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๋‹น์‹ ์˜-- ์ง€๊ธˆ, ์ผ๋ฐ˜์ ์œผ๋กœ ๊ตฌ์–ด์ฒด ์˜์–ด์—์„œ, ์šฐ๋ฆฌ๋Š” ๊ทธ๊ฒƒ์„ ๊ทธ๋ ‡๊ฒŒ ๋งŽ์ด ๊ฐ•์กฐํ•˜์ง€ ์•Š์„ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
33:00
We would just go right into the next phrase, the next word.
528
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์šฐ๋ฆฌ๋Š” ๋ฐ”๋กœ ๋‹ค์Œ ๊ตฌ, ๋‹ค์Œ ๋‹จ์–ด๋กœ ๋ฐ”๋กœ ๋“ค์–ด๊ฐˆ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
33:04
'Your' is a function word, it's not that important. Just in your wildest dreams.
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'Your'๋Š” ๊ธฐ๋Šฅ์–ด์ด๋ฏ€๋กœ ๊ทธ๋‹ค์ง€ ์ค‘์š”ํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค. ๋‹น์‹ ์˜ ๊ฑฐ์นœ ๊ฟˆ์—์„œ.
33:09
Just in your-- just in your-- your-- your-- your-- your wildest dreams.
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๋‹น์‹ ์˜-- ๋‹น์‹ ์˜-- ๋‹น์‹ ์˜-- ๋‹น์‹ ์˜-- ๋‹น์‹ ์˜ ๊ฑฐ์นœ ๊ฟˆ์—์„œ.
33:14
But for the song, this word is building up to the next thing, it is not reduced, it is fully pronounced, it is longer.
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๊ทธ๋Ÿฌ๋‚˜ ๋…ธ๋ž˜์˜ ๊ฒฝ์šฐ ์ด ๋‹จ์–ด๋Š” ๋‹ค์Œ ๋‹จ์–ด๋กœ ์ด์–ด์ง€๋ฉฐ ์ถ•์†Œ๋˜์ง€ ์•Š๊ณ  ์™„์ „ํžˆ ๋ฐœ์Œ๋˜๋ฉฐ ๋” ๊ธธ์–ด์ง‘๋‹ˆ๋‹ค.
33:21
Just in your wildest dreams...
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Just in your wildest dreams...
33:26
Just in your wildest dreams...
533
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Just in your wildest dreams...
33:31
Just in your wildest dreams...
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Just in your wildest dreams...
33:36
Then we have the title of the song,
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๊ทธ๋Ÿฐ ๋‹ค์Œ ๋…ธ๋ž˜ ์ œ๋ชฉ์ด
33:38
Wildest Dreams, and I love how the music matches the music of spoken English.
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Wildest Dreams์ด๊ณ  ์ €๋Š” ์Œ์•…์ด ๊ตฌ์–ด์ฒด ์˜์–ด ์Œ์•…๊ณผ ์ผ์น˜ํ•˜๋Š” ๋ฐฉ์‹์„ ์ข‹์•„ํ•ฉ๋‹ˆ๋‹ค.
33:44
So the stressed syllable in wildest, is the first syllable and that one is so much longer, wildest dreams.
537
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๋”ฐ๋ผ์„œ wildest์—์„œ ๊ฐ•์กฐ๋œ ์Œ์ ˆ์€ ์ฒซ ๋ฒˆ์งธ ์Œ์ ˆ์ด๊ณ  ๊ทธ ์Œ์ ˆ์€ ํ›จ์”ฌ ๋” ๊ธธ๊ณ  ๊ฑฐ์นœ ๊ฟˆ์ž…๋‹ˆ๋‹ค.
33:52
So the syllables are not of equal length, and this is true in spoken English as well.
538
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๋”ฐ๋ผ์„œ ์Œ์ ˆ์˜ ๊ธธ์ด๋Š” ๊ฐ™์ง€ ์•Š์œผ๋ฉฐ ์ด๋Š” ๊ตฌ์–ด์ฒด ์˜์–ด์—์„œ๋„ ๋งˆ์ฐฌ๊ฐ€์ง€์ž…๋‹ˆ๋‹ค.
33:58
And maybe we hear it even better in sung English
539
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๊ทธ๋ฆฌ๊ณ 
34:02
because the stressed syllables can be even longer like it is here.
540
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๊ฐ•์„ธ๊ฐ€ ์žˆ๋Š” ์Œ์ ˆ์ด ์—ฌ๊ธฐ์ฒ˜๋Ÿผ ๋” ๊ธธ์–ด์งˆ ์ˆ˜ ์žˆ๊ธฐ ๋•Œ๋ฌธ์— ์„ฑ์–ด ์˜์–ด์—์„œ ๋” ์ž˜ ๋“ค์„ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
34:05
Wildest dreams...
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๊ฑฐ์นœ ๊ฟˆ... ๊ฐ€์žฅ
34:09
Wildest dreams...
542
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๊ฑฐ์นœ ๊ฟˆ... ๊ฐ€์žฅ
34:12
Wildest dreams...
543
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๊ฑฐ์นœ ๊ฟˆ...
34:15
Wildest. Long-short. Wildest. The L here, also again a dark L because it comes after the vowel in the syllable.
544
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๊ฐ€์žฅ ๊ฑฐ์นœ. ๋กฑ์ˆ. ๊ฐ€์žฅ ๊ฑฐ์น ๋‹ค. ์—ฌ๊ธฐ์„œ L์€ ์Œ์ ˆ์˜ ๋ชจ์Œ ๋’ค์— ์˜ค๊ธฐ ๋•Œ๋ฌธ์— ๋‹ค์‹œ ์–ด๋‘์šด L์ž…๋‹ˆ๋‹ค.
34:28
So the vowel, in this case, a diphthong, the AI as in buy,
545
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๊ทธ๋ž˜์„œ ๋ชจ์Œ, ์ด ๊ฒฝ์šฐ์—๋Š” ์ด์ค‘๋ชจ์Œ, buy, wil--uhl--์—์„œ์™€ ๊ฐ™์€ AI๋Š”
34:33
wil-- uhl-- that is the dark sound, that does not made the tongue tip up, that's different.
546
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์–ด๋‘์šด ์†Œ๋ฆฌ๋กœ ํ˜€๋ฅผ ์œ„๋กœ ์˜ฌ๋ฆฌ์ง€ ์•Š์Šต๋‹ˆ๋‹ค. ๊ทธ๊ฑด ๋‹ค๋ฆ…๋‹ˆ๋‹ค.
34:40
That's lll lalala, this is uhll-- uhll-- wildest.
547
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๊ทธ๊ฒŒ ๋ž„๋ž„๋ผ์•ผ, ์ด๊ฑด uhll-- uhll-- ๊ฐ€์žฅ ๊ฑฐ์น ์–ด.
34:47
So your tongue tip stays down until you need it to go up for the D.
548
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D.
34:50
Wildest--
549
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Wildest--
34:52
wildest--
550
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wildest--
34:55
wildest--
551
2095000
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wildest--
34:56
Now to sing the dark L sound, uhlll---
552
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์ด์ œ ์–ด๋‘์šด L ์‚ฌ์šด๋“œ๋ฅผ ๋ถ€๋ฅด๋ ค๋ฉด uhlll---
35:01
it's not a sound to hold out, it's not a particularly pretty sound when we isolate it,
553
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๋ฒ„ํ‹ฐ๋Š” ์†Œ๋ฆฌ๊ฐ€ ์•„๋‹™๋‹ˆ๋‹ค. ์šฐ๋ฆฌ๊ฐ€ ๊ทธ๊ฒƒ์„ ๋ถ„๋ฆฌํ•  ๋•Œ ์˜ˆ์œ ์†Œ๋ฆฌ,
35:05
so you wouldn't say wildest, you wouldn't hold that out, you would put it in at the very end,
554
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๊ทธ๋ž˜์„œ ๋‹น์‹ ์€ ๊ฑฐ์นœ ๋ง์„ ํ•˜์ง€ ์•Š์„ ๊ฒƒ์ž…๋‹ˆ๋‹ค
35:13
you would put your length of the syllable in the diphthong or the vowel.
555
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.
35:17
Wiiii-- And I don't even really hear much of the dark sound, she's sort of skips out a little bit. Wildest.
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Wiiii-- ๊ทธ๋ฆฌ๊ณ  ์ €๋Š” ์–ด๋‘์šด ์†Œ๋ฆฌ๋ฅผ ๋ณ„๋กœ ๋“ฃ์ง€๋„ ๋ชปํ•ด์š”. ๊ฐ€์žฅ ๊ฑฐ์น ๋‹ค.
35:25
Very subtle and quick at the end, but it's certainly not wildest.
557
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๋งˆ์ง€๋ง‰์—๋Š” ๋งค์šฐ ๋ฏธ๋ฌ˜ํ•˜๊ณ  ๋น ๋ฅด์ง€๋งŒ ํ™•์‹คํžˆ ๊ฐ€์žฅ ๊ฑฐ์น ์ง€๋Š” ์•Š์Šต๋‹ˆ๋‹ค.
35:32
Wildest--
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Wildest--
35:34
wildest--
559
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wildest--
35:36
wildest--
560
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wildest--
35:38
Now what about the T in wildest?
561
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์ด์ œ wildest์˜ T๋Š” ์–ด๋–ป์Šต๋‹ˆ๊นŒ?
35:41
Wildest dreams...
562
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๊ฑฐ์นœ ๊ฟˆ...
35:44
Wildest dreams...
563
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๊ฑฐ์นœ ๊ฟˆ...
35:47
Wildest dreams...
564
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๊ฑฐ์นœ ๊ฟˆ...
35:50
It's part of an ending ST cluster. Now, up here with 'just',
565
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์—”๋”ฉ ST ํด๋Ÿฌ์Šคํ„ฐ์˜ ์ผ๋ถ€์ž…๋‹ˆ๋‹ค. ์ž, ์—ฌ๊ธฐ 'just'๋กœ,
35:55
we said when that cluster is followed by a word that begins the vowel or diphthong, you say the T.
566
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์šฐ๋ฆฌ๋Š” ๋ชจ์Œ ๋’ค์— ๋ชจ์Œ์ด๋‚˜ ์ด์ค‘๋ชจ์Œ์œผ๋กœ ์‹œ์ž‘ํ•˜๋Š” ๋‹จ์–ด๊ฐ€ ์˜ฌ ๋•Œ T๋ผ๊ณ  ๋งํ–ˆ์Šต๋‹ˆ๋‹ค.
36:00
If it's followed by a word that begins with the consonant, or in this case, a consonant cluster, you drop the T.
567
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๊ทธ ๋’ค์— ์ž์Œ์œผ๋กœ ์‹œ์ž‘ํ•˜๋Š” ๋‹จ์–ด๊ฐ€ ์˜ค๋ฉด, ์ด ๊ฒฝ์šฐ์—๋Š” ์ž์Œ ํด๋Ÿฌ์Šคํ„ฐ, ๋‹น์‹ ์€ T๋ฅผ ๋–จ์–ด ๋œจ๋ฆฝ๋‹ˆ๋‹ค.
36:07
And that's exactly what she does. This is true in spoken English too.
568
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๊ฒƒ์ด ๊ทธ๋…€๊ฐ€ํ•˜๋Š” ์ผ์ž…๋‹ˆ๋‹ค. ์ด๊ฒƒ์€ ๊ตฌ์–ด์ฒด ์˜์–ด์—์„œ๋„ ๋งˆ์ฐฌ๊ฐ€์ง€์ž…๋‹ˆ๋‹ค.
36:11
And again, remember the DR cluster can be JR. Dreams, dreams, rather than
569
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๋‹ค์‹œ ๋งํ•˜์ง€๋งŒ DR ํด๋Ÿฌ์Šคํ„ฐ๋Š” JR์ผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค. ๊ฟˆ, ๊ฟˆ, ๊ฟˆ๋ณด๋‹ค๋Š” ๊ฟˆ, ๊ฟˆ
36:17
dreams, ddddd, dreams, dreams, dreams, dreams, dreams.
570
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, ๊ฟˆ, ๊ฟˆ, ๊ฟˆ, ๊ฟˆ.
36:21
A light J sound, I think that's what she does. I think it's a little bit easier.
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๊ฐ€๋ฒผ์šด J ์†Œ๋ฆฌ, ๋‚˜๋Š” ๊ทธ๊ฒƒ์ด ๊ทธ๋…€๊ฐ€ํ•˜๋Š” ์ผ์ด๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค. ์กฐ๊ธˆ ๋” ์‰ฝ๋‹ค๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
36:25
Wildest dreams.
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๊ฑฐ์นœ ๊ฟˆ.
36:27
Wildest dreams...
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๊ฑฐ์นœ ๊ฟˆ... ๊ฐ€์žฅ
36:30
Wildest dreams...
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๊ฑฐ์นœ ๊ฟˆ... ๊ฐ€์žฅ
36:33
Wildest dreams...
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๊ฑฐ์นœ ๊ฟˆ...
36:39
Then just a vowel expression, we hear that a lot in music.
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๊ทธ๋Ÿฐ ๋‹ค์Œ ๊ทธ๋ƒฅ ๋ชจ์Œ ํ‘œํ˜„, ์šฐ๋ฆฌ๋Š” ์Œ์•…์—์„œ ๋งŽ์ด ๋“ฃ์Šต๋‹ˆ๋‹ค.
36:43
Ahh, ooh, etc.
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Ahh, ooh, etc.
36:45
Aahh... Wildest dreams...
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Aahh... Wildest dreams...
36:53
And then again, on the repeat of wildest dreams,
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๊ทธ๋ฆฌ๊ณ  ๋˜ ๋‹ค์‹œ wildest dreams์˜ ๋ฐ˜๋ณต์—์„œ
36:56
T is dropped, words link together with the S, the JR cluster 'dreams' just like the first time.
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T๊ฐ€ ๋–จ์–ด์ง€๊ณ  ๋‹จ์–ด๊ฐ€ S์™€ ํ•จ๊ป˜ ์—ฐ๊ฒฐ๋˜๋ฉฐ JR ํด๋Ÿฌ์Šคํ„ฐ๋Š” ์ฒ˜์Œ์ฒ˜๋Ÿผ 'dreams'ํ•ฉ๋‹ˆ๋‹ค.
37:04
Wildest dreams aahh...
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์‚ฌ๋‚˜์šด ๊ฟˆ ์•„์•„...
37:08
Wildest dreams aahh...
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์‚ฌ๋‚˜์šด ๊ฟˆ ์•„์•„...
37:12
Wildest dreams aahh...
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์‚ฌ๋‚˜์šด ๊ฟˆ ์•„์•„...
37:17
Okay, so this is a pretty long video. We did the first verse and we did the chorus.
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์ž, ์ด๊ฒƒ์€ ๊ฝค ๊ธด ๋น„๋””์˜ค์ž…๋‹ˆ๋‹ค. ์šฐ๋ฆฌ๋Š” ์ฒซ ์ ˆ์„ ํ•˜๊ณ  ํ›„๋ ด๊ตฌ๋ฅผ ํ–ˆ์–ด์š”.
37:22
Just like when I do a scene from a movie, I don't do the whole movie.
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์˜ํ™”์˜ ํ•œ ์žฅ๋ฉด์„ ์ฐ์„ ๋•Œ์ฒ˜๋Ÿผ ์˜ํ™” ์ „์ฒด๋ฅผ ์ฐ์ง€๋Š” ์•Š์Šต๋‹ˆ๋‹ค.
37:26
I don't think I'm going to do the whole analysis here because that could end up being a two hour long video.
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2์‹œ๊ฐ„ ๋ถ„๋Ÿ‰์˜ ๋น„๋””์˜ค๊ฐ€ ๋  ์ˆ˜ ์žˆ๊ธฐ ๋•Œ๋ฌธ์— ์—ฌ๊ธฐ์—์„œ ์ „์ฒด ๋ถ„์„์„ ํ•  ์ƒ๊ฐ์€ ์—†์Šต๋‹ˆ๋‹ค.
37:32
So we'll stop here, but I want to challenge you, if you enjoy this, and you want to know the rest of the song,
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๊ทธ๋ž˜์„œ ์šฐ๋ฆฌ๋Š” ์—ฌ๊ธฐ์„œ ๋ฉˆ์ถœ ๊ฒƒ์ด์ง€๋งŒ ๋„์ „ํ•˜๊ณ  ์‹ถ์Šต๋‹ˆ๋‹ค. ๋งŒ์•ฝ ๋‹น์‹ ์ด ์ด๊ฒƒ์„ ์ฆ๊ธฐ๊ณ  ๋…ธ๋ž˜์˜ ๋‚˜๋จธ์ง€ ๋ถ€๋ถ„์„ ์•Œ๊ณ  ์‹ถ๋‹ค๋ฉด
37:39
you can do your own analysis.
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๋‹น์‹  ์ž์‹ ์˜ ๋ถ„์„์„ ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
37:41
Here's what you should do. Download the song, buy it somewhere,
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ํ•ด์•ผ ํ•  ์ผ์€ ๋‹ค์Œ๊ณผ ๊ฐ™์Šต๋‹ˆ๋‹ค. ๋…ธ๋ž˜๋ฅผ ๋‹ค์šด๋กœ๋“œํ•˜๊ณ  , ์–ด๋”˜๊ฐ€์—์„œ ๊ตฌ์ž…ํ•˜๊ณ ,
37:46
open it in a program that allows you to look at the details of the song, like the volume.
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๋ณผ๋ฅจ๊ณผ ๊ฐ™์€ ๋…ธ๋ž˜์˜ ์„ธ๋ถ€ ์‚ฌํ•ญ์„ ๋ณผ ์ˆ˜ ์žˆ๋Š” ํ”„๋กœ๊ทธ๋žจ์—์„œ ์—ฝ๋‹ˆ๋‹ค.
37:52
I use Audacity for this, and this allows you to go to different places in the song, play them over and over...
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๋‚˜๋Š” ์ด๊ฒƒ์„ ์œ„ํ•ด Audacity๋ฅผ ์‚ฌ์šฉํ•˜๊ณ  ์ด๊ฒƒ์€ ๋‹น์‹ ์ด ๋…ธ๋ž˜์˜ ๋‹ค๋ฅธ ์œ„์น˜๋กœ ์ด๋™ํ•˜๊ณ  ๋ฐ˜๋ณตํ•ด์„œ ์žฌ์ƒํ•  ์ˆ˜ ์žˆ๊ฒŒ ํ•ด์ค๋‹ˆ๋‹ค... ๋‚˜๋ฅผ
37:59
Say you'll remember me...
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๊ธฐ์–ตํ•  ๊ฒƒ์ด๋ผ๊ณ ... ๋‚˜๋ฅผ
38:01
Say you'll remember me...
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๊ธฐ์–ตํ•  ๊ฒƒ์ด๋ผ๊ณ ...
38:03
And that kind of thing.
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๋Ÿฐ ์ข…๋ฅ˜์˜ ๊ฒƒ .
38:05
When you listen to something on a loop like that, it helps you identify
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๊ทธ๋Ÿฐ ๋ฃจํ”„์—์„œ ๋ฌด์–ธ๊ฐ€๋ฅผ ๋“ค์œผ๋ฉด
38:09
what exactly is happening and it helps you focus in on the details.
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์ •ํ™•ํžˆ ๋ฌด์Šจ ์ผ์ด ์ผ์–ด๋‚˜๊ณ  ์žˆ๋Š”์ง€ ์‹๋ณ„ํ•˜๋Š” ๋ฐ ๋„์›€์ด ๋˜๊ณ  ์„ธ๋ถ€ ์‚ฌํ•ญ์— ์ง‘์ค‘ํ•˜๋Š” ๋ฐ ๋„์›€์ด ๋ฉ๋‹ˆ๋‹ค.
38:13
And then you can write your own Ben Franklin analysis of what you hear happening.
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๊ทธ๋Ÿฐ ๋‹ค์Œ ๋“ฃ๊ณ  ์žˆ๋Š” ์ผ์— ๋Œ€ํ•œ ๋ฒค ํ”„๋žญํด๋ฆฐ ๋ถ„์„์„ ์ง์ ‘ ์ž‘์„ฑํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
38:18
The stress, put your curve up and down for the stress, dropped sounds, reductions.
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์ŠคํŠธ๋ ˆ์Šค, ์ŠคํŠธ๋ ˆ์Šค์— ๋Œ€ํ•œ ๊ณก์„ ์„ ์œ„์•„๋ž˜๋กœ ๋†“๊ณ  ์†Œ๋ฆฌ๋ฅผ ๋–จ์–ด๋œจ๋ฆฌ๊ณ  ์ค„์ž…๋‹ˆ๋‹ค. ์ฃผ์˜๋ฅผ
38:23
Pay attention, write them down. You know a lot. You can do this.
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๊ธฐ์šธ์ด๊ณ  ์ ์–ด ๋‘์‹ญ์‹œ์˜ค. ๋‹น์‹ ์€ ๋งŽ์ด ์•Œ๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค. ๋‹น์‹ ์€ ์ด๊ฒƒ์„ ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
38:27
Here's an idea. If you do one, take a picture of one of your pages of your analysis,
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์•„์ด๋””์–ด๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค. ํ•˜๋‚˜๋ฅผ ์ˆ˜ํ–‰ํ•˜๋ฉด ๋ถ„์„ ํŽ˜์ด์ง€ ์ค‘ ํ•˜๋‚˜๋ฅผ ์‚ฌ์ง„์œผ๋กœ ์ฐ์–ด
38:33
post it to Instagram, and use #rachelenglish so I can check it out.
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Instagram์— ๊ฒŒ์‹œํ•˜๊ณ  #rachelenglish๋ฅผ ์‚ฌ์šฉํ•˜์—ฌ ํ™•์ธํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
38:39
Now the important question:
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์ด์ œ ์ค‘์š”ํ•œ ์งˆ๋ฌธ์ž…๋‹ˆ๋‹ค.
38:40
what song would you like to be the next analysis song?
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๋‹ค์Œ ๋ถ„์„ ๊ณก์œผ๋กœ ์–ด๋–ค ๊ณก์„ ์›ํ•˜์‹ญ๋‹ˆ๊นŒ?
38:44
Put it in the comments. Below but if someone has already put your song, then just like that comment.
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๋Œ“๊ธ€์— ์ ์–ด์ฃผ์„ธ์š”. ์•„๋ž˜์— ์žˆ์ง€๋งŒ ๋ˆ„๊ตฐ๊ฐ€๊ฐ€ ์ด๋ฏธ ๋‹น์‹ ์˜ ๋…ธ๋ž˜๋ฅผ ๋„ฃ์—ˆ๋‹ค๋ฉด ๊ทธ ๋Œ“๊ธ€์— ์ข‹์•„์š”๋ฅผ ๋ˆ„๋ฅด์„ธ์š”.
38:49
The one with the most likes lets me most easily see the most popular request.
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์ข‹์•„์š”๊ฐ€ ๊ฐ€์žฅ ๋งŽ์€ ์š”์ฒญ์ด ๊ฐ€์žฅ ์ธ๊ธฐ ์žˆ๋Š” ์š”์ฒญ์„ ๊ฐ€์žฅ ์‰ฝ๊ฒŒ ๋ณผ ์ˆ˜ ์žˆ๊ฒŒ ํ•ด์ค๋‹ˆ๋‹ค.
38:54
Working on this video is making me think about the melody of English.
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์ด ์˜์ƒ์„ ์ž‘์—…ํ•˜๋ฉด์„œ ์˜์–ด์˜ ๋ฉœ๋กœ๋””์— ๋Œ€ํ•ด ์ƒ๊ฐํ•˜๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
38:59
How we speak but it's almost like a song,
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์šฐ๋ฆฌ๊ฐ€ ๋งํ•˜๋Š” ๋ฐฉ์‹์€ ๊ฑฐ์˜ ๋…ธ๋ž˜์™€ ๊ฐ™์œผ๋ฉฐ
39:01
and it's reminding me of a video I made a long time ago where I talked about the shape, the vocal shape,
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์˜ค๋ž˜ ์ „์— ๋งŒ๋“  ๋น„๋””์˜ค์—์„œ ๊ฐ•์„ธ๊ฐ€ ์žˆ๋Š” ์Œ์ ˆ์˜ ๋ชจ์–‘, ๋ณด์ปฌ ๋ชจ์–‘, ๋ฉœ๋กœ๋””์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐํ–ˆ๋˜ ๊ฒƒ์ด ์ƒ๊ฐ๋‚ฉ๋‹ˆ๋‹ค
39:06
the melody of a stressed syllable.
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.
39:09
I want to make sure you see that if you haven't already, so you can click on it right here.
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์•„์ง ํ™•์ธํ•˜์ง€ ์•Š์œผ์…จ๋‹ค๋ฉด ์—ฌ๊ธฐ์—์„œ ํด๋ฆญํ•˜์‹ค ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
39:13
Also, please subscribe with notifications if you haven't already.
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๊ทธ๋ฆฌ๊ณ  ์•„์ง ๊ตฌ๋…ํ•˜์ง€ ์•Š์œผ์…จ๋‹ค๋ฉด ์•Œ๋ฆผ์œผ๋กœ ๊ตฌ๋…ํ•ด์ฃผ์„ธ์š”.
39:17
I make a new video every Tuesday, and I'd love to have you join me every week.
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์ €๋Š” ๋งค์ฃผ ํ™”์š”์ผ์— ์ƒˆ๋กœ์šด ๋น„๋””์˜ค๋ฅผ ๋งŒ๋“ค๊ณ  ๋งค์ฃผ ์—ฌ๋Ÿฌ๋ถ„์ด ์ €์™€ ํ•จ๊ป˜ ํ–ˆ์œผ๋ฉด ์ข‹๊ฒ ์Šต๋‹ˆ๋‹ค.
39:21
That's it guys, and thanks so much for using Rachel's English.
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์—ฌ๊ธฐ๊นŒ์ง€์ž…๋‹ˆ๋‹ค. Rachel์˜ ์˜์–ด๋ฅผ ์‚ฌ์šฉํ•ด ์ฃผ์…”์„œ ๋Œ€๋‹จํžˆ ๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค .
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

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

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