Subtitles section Play video
-
Today, you're studying fast English by looking at the reductions , the linking, the melody,
-
the simplification that native speakers do when speaking English.
-
We're going to be using the scene from the movie Ant Man and The Wasp.
-
When you study American English this way, and not the way you learned it in school,
-
or the way you learned from your book, your listening comprehension and your ability to sound natural
-
speaking English is going to improve dramatically.
-
Today, you'll see what changes in someone's rhythm when they're insulting somebody.
-
We're doing an in-depth analysis, studying the rhythmic contrast that gives American English its character.
-
And there's going to be audio to train with at the end, so you can fully understand it,
-
and start building that habit of natural American English.
-
You're the one who's on the run from the FBI.
-
We're doing this all summer. We started in June, and we're going through August.
-
Stick with me every Tuesday. They're all great scenes and there's going to be so much to learn
-
that can transform the way you understand and speak English.
-
And as always, if you like this video or you learned something new, please like and subscribe with notifications.
-
You're going to watch the clip, then we're going to do a full pronunciation analysis together.
-
This is going to help so much with your listening comprehension when it comes to watching English movies in TV.
-
But there's going to be a training section.
-
You're going to take what you've just learned and practice repeating it, doing a reduction, flapping a T,
-
just like you learned in the analysis. Okay here's the scene.
-
Doctor, we need to find our lab.
-
Hope, I'd love to help you but I don't have anything like the equipment you're describing.
-
I told you, this is a waste of time. Come on, let's go.
-
Don't condescend, Hank. You're the one who's on the run from the FBI.
-
All because you had to grow to a size that finally fit your ego.
-
And now, the analysis.
-
Doctor, we need to find our lab.
-
So what's the stress and melody of that phrase?
-
Doctor, doctor, that goes up. Doctor, we need to find our lab.
-
And then we have those three words that have a little bit of that up down shape
-
in the overall feeling of that phrase descending.
-
Let's just listen to that melody again.
-
Doctor, we need to find our lab.
-
Doctor, we need to find our lab.
-
Doctor, we need to find our lab.
-
Now just do it with me on UH. Uhhhhh. Uhhh.
-
Can you make it that smooth when you put the words in?
-
That's the goal.
-
And to do that, you might need to simplify things a little bit about how you pronounce words.
-
Doctor, we need to find our lab.
-
Doctor, we need to find our lab.
-
Doctor, we need to find our lab.
-
Doctor, we--
-
The R links right into the W with no break.
-
Do-- that's the AH as in father vowel,
-
the second O is the schwa.
-
So the R absorbs the schwa. You don't need to try to make a vowel there.
-
Doctor. Doctor. Right from T into R. Doctor we--
-
Doctor we--
-
Doctor we--
-
Doctor, we need to find our lab.
-
We need to find our--
-
So to and our, both lower in pitch, part of a valley, a little valley between those peaks of stress.
-
Need to-- so they're said more quickly, they're lower in pitch,
-
and in order to do that, we make some reductions. So rather than saying need to, we say: need duh--
-
We need to--
-
We need to--
-
We need to--
-
Need to-- So the word to gets reduced to just the schwa.
-
This can happen when the sound before is a D.
-
Need to-need to find--
-
And that schwa links the D and the F together so that there's no break between these words.
-
Need to find our lab.
-
Then the word our is pronounced quickly. It's more like: are, are. Find our, find our, find our lab.
-
Find our lab.
-
Find our lab.
-
Find our lab.
-
Hope, I'd love to help you but I don't have anything like the equipment you're describing.
-
So then he responds with a long thought group.
-
No breaks here, much longer than the first statement, isn't it?
-
Isn't this fantastic? I love doing these analyses with you.
-
You know, one of the things my students ask for in lessons is more idioms and slang.
-
And as you watch movies, you may find that there are words and phrases you understand,
-
but you don't know the meaning of, you don't get how they're being used.
-
I'd like to talk about Cambly who's sponsoring this video.
-
Cambly, it's a platform, it's an app that you can use to connect directly with teachers.
-
In Cambly, you can search on a specific topic like idioms and slang.
-
And you can find teachers who can teach specifically those kinds of lessons.
-
You can call someone right away, or click on their profile to learn more.
-
You can watch a video, read about them, and see their certifications.
-
Wouldn't you like to have a conversation in English with one of these teachers right now?
-
To get a discount on an annual package, use rachel-english10 .
-
Thank you to Cambly for supporting this video and this channel
-
and for 32 percent off the annual lesson package, use rachel-english10.
-
Now, let's get back to that analysis.
-
Hope, I'd love to help you but I don't have anything like the equipment you're describing.
-
So then he responds with a long thought group.
-
No breaks here, much longer than the first statement, isn't it?
-
Hope, I'd love to help you but I don't have anything like the equipment you're describing.
-
Hope, I'd love to help you --
-
So there we have three peaks of stress. Hope, I'd love to help you--
-
Hope, I'd love to help you--
-
Uhhhhh----
-
Hope, I'd love to help you--
-
Hope, I'd love to help you--
-
Hope, I'd love to help you--
-
See if you can do that. Make it smooth,
-
one sound gliding up next to the other, do it just on UH if you want to,
-
to practice that smoothness, to practice that melody.
-
Hope, I'd love to help you--
-
Hope, I'd love to help you--
-
Hope, I'd love to help you--
-
Hope, I'd, I'd- Lower in pitch, flatter, Hope, I'd love to--
-
The word to reduced.
-
Hope, I'd love to--
-
Hope, I'd love to--
-
Hope, I'd love to--
-
I'd love to-- So the T is pronounced more like a D.
-
This is common when the sound before is voiced. The sound before here is V, vvvv,
-
that is voiced, so he's making this a D sound: love duh-love duh--
-
and this is the schwa. Love to help you.
-
Help you. P releasing right into the JU diphthong: pyou, pyou, pyou. Help you.
-
Help you--
-
but I don't have anything like the--
-
But I don't have anything like the--
-
uhhhh--
-
But I don't have anything like the--
-
So we have I: But I don't have anything like the--
-
And then everything falls down from that, and is slowly, the pitch slowly glides down.
-
But I don't--
-
But I don't have anything like the--
-
But I don't have anything like the--
-
But I don't have anything like the--
-
But I-- But I-- That's a flap T linking those two sounds together.
-
But I don't--
-
Let's listen to this N apostrophe T ending, what's happening there?
-
But I don't-- But I don't-- But I don't have anything like the--
-
But I don't have--
-
don't have--
-
don't have--
-
The T is totally dropped, it happens more commonly than you think.
-
N apostrophe T contractions can have a stop T, can have a fully pronounced T, that's not very common,
-
and then they can also have a totally dropped T where the N just goes right into the next sound,
-
and that's what's happening here.
-
I don't have--
-
I don't have--
-
anything like the--
-
Anything like the-- the equipment-- So the word the here is pronounced with the EE vowel
-
because the next word begins with the vowel, and it happens to be the EE vowel.
-
The, the, there's a little bit of a feeling of a re-emphasis here, the, the, the equipment.
-
The equipment, the equipment, the equipment.
-
Equip-- and then we have another stressed syllable after this long line of unstressed syllables
-
heading down in pitch. Anything like the equip-- anything like the quip--
-
Anything like the equipment--
-
Anything like the equipment--
-
Anything like the equipment--
-
Everything linking together smoothly. Do it that smoothly.
-
When you're working with the audio that goes at the end of this video,
-
try the slow motion section, and really focus on
-
that smoothness and connection.
-
Anything like the equipment--
-
Anything like the equipment--
-
Anything like the equipment--
-
We have a little bit of length here on the stressed syllable of anything.
-
Note that that is the EH vowel even though we see the letter A.
-
Have anything, have anything, have anything, have anything like the equipment.
-
Have anything like the equipment.
-
Have anything like the equipment.
-
Have anything like the equipment.
-
Equipment. We have a stop P. It's not released. It's not quipment, but qui-ment.
-
And then we have a stop T here: equipment, equipment, da-da-da. So a little bit of a lift there, equipment.
-
Equipment, equipment, equipment you're describing.
-
You're-- and then we have a reduction. It's not your, or your, it's yer, said more quickly, more simply, yer, yer, yer.
-
Equipment you're-
-
describing.
-
The equipment you're describing. Describing. Middle syllable stress there of that word,
-
and of course, as he is saying it, another character interjects.
-
Equipment you're describing.
-
Equipment you're describing.
-
>> Equipment you're describing. >> I told you this is a waste of time.
-
I told you this is a waste of time. Very clear when you listen to it on a loop.
-
Da-da-da-da-da-da-da-da.
-
Where our stressed syllables are. I told you.
-
I told you this is a waste of time.
-
I told you this is a waste of time.
-
I told you this is a waste of time.
-
Now, a couple interesting things happening here with the word told.
-
We have an ending D sound, the next word is you.
-
This can happen, it's actually pretty common for the Y constant of you or your or yourself
-
to turn that into a J sound instead of a D sound. Told you, ju, ju.
-
This is how we would write that sound in IPA. I told you. Told you.
-
I told you--
-
Also the L in told is a dark L. Tol--
-
That does influence the vowel here, which is actually a diphthong, the OH diphthong.
-
So it's not told, but it's: to-ohld. The dark sound and the OH mix together, so it's not really a diphthong anymore,
-
it's more like a single sound, ohl, ohl, lip rounding, the tongue is,
-
the tongue tip is not lifted, but the whole tongue itself is shifted up and back a little bit.
-
Tohl-- before the J sound. I told you.
-
And this is a true T because it begins a stressed syllable.
-
So link the AI diphthong right into that true T. I told you.
-
I told you--
-
this is a waste of time.
-
I told you this is a-- this is a-- this is a-- Then we have three really fast words.
-
This is a-- this is-- notice that these are different sounds.
-
The letter S in this is an S sound, the letter S in is is a Z sound, links right into the schwa.
-
So all of these words link together really smoothly. This is a, this is a, this is a, this is a.
-
This is a--
-
See if you can simplify your mouth movements to make that that fast. This is a, this is a, this is a.
-
This is a waste. This is a waste.
-
This is a waste--
-
of time.
-
Waste of time. Waste of time.
-
So we have two stress words. One unstressed word in between.
-
The ending T of waste, links right into the reduction of 'of': of, of, with a true T. Waste of time.
-
And then another true T in time, because it is beginning a stressed syllable.
-
Waste of time.
-
A waste of time. A waste of time. A waste of time.
-
So you can't say: waste of time, waste of time, you can't fully pronounce that.
-
You won't be able to do it quickly enough. You have to reduce it. Waste of time. of of of of.
-
A waste of time.
-
Come on, let's go.
-
Then he says really quickly: come on, let's go. Really linked together, not all that clear. Come, come.
-
I would write that with the schwa, come on,
-
and then it links right into the next vowel: come on, let's go.
-
Come on, let's go.
-
Come on, let's go.
-
Come on, let's go.
-
Come on, let's go. And actually, on is our peak of stress there. Come on, let's go.
-
And then everything else falls down away from that peak come leads up to it. Come, come on, let's go.
-
And actually, let's go is said pretty unclearly. I would say there's not even a T sound there.
-
Let's go. Let's go. Let's go. Let's go.
-
I'm just hearing light L, EH as in bed, S. Let's go. Let's go. Let's go. Let's go. Come on, let's go.
-
Come on, let's go.
-
Come on, let's go.
-
Come on, let's go.
-
Come on, let's go.
-
Don't condescend Hank--
-
What do you think are the most stressed syllables here?
-
Don't condescend Hank.
-
Don't condescend Hank.
-
Don't condescend Hank.
-
Don't condescend Hank.
-
Hank. Hank definitely has stress it's an up down shape as his voice goes up.
-
Don't condescend. Some stress on con, more on scend, condescend.
-
So each word in American English only has one syllable with primary stress.
-
That would be the send syllable here.
-
But some syllables do have secondary stress.
-
And sometimes, they have a stressed feel, and sometimes they don't.
-
This one sort of does.