تدريب Shadowing: Charli xcx - Camera | Behind the Song - تعلم التحدث بالإنجليزية عبر الفيديو
اختر وضع التدريب
كل وضع يفتح غرفة تدريب بملء الشاشة.
171 جمل
إذا كانت الجمل قصيرة أو طويلة جدًا، انقر على Edit لتعديلها.
1
This is quite a confessional and in some ways embarrassing, well for Brits I think at least,
2
you know talking about your dreams and your ambitions is inherently embarrassing for a British person, maybe not so much for an American, I don't know.
3
All of my albums are kind of in communication with each other even if they're sort of repelling each other.
4
As an artist I think you know some artists spend years
5
and years sort of like honing their sound and really digging deeper
6
and deeper and deeper into it and I've definitely done
7
that at points in my past but over the past five years
8
or so I'd say I'm definitely more interested in being a bit more reactive to the sounds of previous records
9
that I've made and And then also just like playing shows, DJing, throwing parties.
10
It was very constantly within that world.
11
I felt that I needed to sort of do something drastic to feel inspired personally again.
12
Well you had a song didn't you?
13
I think that's the thing.
14
It wasn't like, oh now I'm going to make guitar music.
15
You had a song that was a guitar song.
16
Right.
17
And that I think didn't make the album.
18
Oh yeah, yeah, of course.
19
But that's what I mean.
20
And then you're like, oh this is quite cool as a song.
21
It wasn't even really talking about the production.
22
I think it was just, I like this song.
23
Yeah.
24
And then I think we were just fleshing out that idea, not talking about it too much, not right.
25
Yeah, and then it just became like, oh, this is inspiring to us.
26
Like, I think we all in ways do have some kind of a history with certain types of guitar music.
27
Even though I think to some people maybe it feels extremely alien.
28
I think for us, it's like, it's just another tool, really.
29
It's not actually that like provocative to us.
30
Like, oh my god, we're using a guitar.
31
It's like not like I don't personally see it like that.
32
It's just like, oh, that's just another tool that we can use in the way that only we would use it.
33
In my mind, the song is about doing something that feels uncomfortable, that actually is quite jarring and awkward in one way,
34
but makes you feel something.
35
Every sort of part of the production I think is sort of trying to emphasize that feeling,
36
you know, even if you take the initial stuttering guitar, it's like there's something quite anxious in that, but then also something quite propulsive about it.
37
This is actually what I played initially, which is just this.
38
And that was one snippet.
39
I think that's two different guitars, two simple guitars.
40
Just like going straight into the Boss Superdrive and I think that's the second one.
41
The first one I think is just a DI into the Apollo, so incredibly simple.
42
And then I chopped it up into individual sections and if I take off the shaper box you'll see sort of like...
43
Being drawn also to those moments when I'm not quite hitting it
44
and finding a weird point where you get a strange attack
45
or some kind of strange artifact that's in there
46
and then like leaning into that
47
and then the final process was just this putting on this shaper box
48
which then kind of adds this weird time and panning sequencing thing so then you get there
49
and then that's adding another level of like
50
because then that's hearing the chops and then adding them in at weird places
51
so then it's like clicks on clicks
52
and it just kind of contributes it's this feeling of it being kind of awkward and unsettling in some way.
53
Like here, for example.
54
And then, yeah, having this final little snippet produced quite differently.
55
So then having that one be super stereo and just these kind of things, like trying to break it up and feel it,
56
make it feel as fragmented as possible to sort of give it that awkward quality.
57
I think this song did kind of come together in quite a free flowing type of way.
58
I don't think I sat for a long time labouring over lyrics.
59
It was kind of quite a sort of flow state,
60
kind of a song, which I think is cool because this is quite a confessional and in some ways embarrassing,
61
well, for Brits, I think at least, you know, talking about your dreams and your ambitions is inherently embarrassing for a British person,
62
maybe not so much for an American, I don't know.
63
So, you know, it's like there is this element of like putting yourself out there
64
and saying the thing that is like coming into your mind.
65
And I think that is really captured in the lyrics
66
and emphasised by the fact that there isn't really like a clear rhyme pattern.
67
When you went to record the idea first, I think you just did the whole thing in one take.
68
Yeah.
69
Because it was a really very emotional moment to hear it because I hadn't heard it before.
70
You know, I've got this idea and it was all there, the whole song.
71
And it was actually, I think we only did like, you know, six takes or something.
72
And it was they're all complete performances.
73
And that's something that we carried through the whole album.
74
Yeah, I was like preserving these performances that you do.
75
This is a moment where we wanted this to feel like because obviously reflects the lyrics so well.
76
Like there's that sort of like dramatic step up.
77
And actually, this was something that Alex had when we were mixing it.
78
He had this idea to like suddenly make the vocal really, really wide at that point.
79
And you wouldn't have it.
80
It's like halfway through a word, I think.
81
So if you hear the vocal here, this is just Charlie direct.
82
The other ones in your eyes, but let's be honest, I'm talking about the ones on the pavement.
83
And then suddenly there's this extra layer.
84
It's like much sort of weirder and like morphing a bit more and more chorus and panned and stereo.
85
And then also just preserving quite a jump up in volume as well.
86
I think we even did that with the automation on the drums.
87
You'll see here, we just allowed the drums to just jump up in automation here, up six, then up nine again, sorry, up another one there.
88
So it's just trying to create these extreme volume shifts, I think, is the key thing.
89
Suddenly the drums feel a little bit too loud you know it's like quite a strange way of mixing
90
that but yeah then the final thing is just um at the end of the chorus like yeah keeping in
91
that glitch and keeping in this weird lead static that we have
92
that we quite liked and actually having the track come out
93
so brutally to affect that lyric
94
so by itself i think it's just like quite cute on its own
95
so nice and then the final thing i'd also just draw attention to i think in terms of like
96
that feeling of like being quite exposed
97
and like vulnerable is just how we just drop everything down right at the end to just the bass
98
and charlie's vocal which is also like really heavily
99
and quite awkwardly gated yeah i love the gate on this i can be anything i want to be
100
and i can feel like the way the gate is cutting in
101
and and cutting out the breaths in a slightly strange way
102
or cutting off the end of a word or the beginning of a word in an unpredictable,
103
chaotic way, that I think really works really well there.
104
I can be anything I wanna be and I can feel the things I don't normally feel.
105
The beginning though, I feel you can really hear when there's like a breath.
106
Yeah, yeah.
107
I can be anything I wanna be and I can feel.
108
It's like very staccato in a way.
109
The ands slower than it should be and like...
110
I can feel the things I don't know.
111
It's subtle.
112
In the choruses, I think we like, have my kind of tuned vocals lead and then we have...
113
And then we have these very kind of more natural vocals.
114
With no tune.
115
So we did these two left right doubles
116
and this has no tune on it at all and we allowed it just to sort of feel weird and drifting.
117
Very lazy, you know, paired with the kind of anchoring tuned.
118
And then obviously that sounds very different from how exposed the end vocal is, where it's just like...
119
It can be anything, I won't be anything.
120
But imagine if that, like usually you have all these breaths in there and stuff, you could hear the breathing and all that stuff
121
and I think just cutting all of
122
that out gives it a kind of strange uncanny quality
123
or something yeah something quite puts you on edge a bit it's like someone's crying
124
or something you know yeah
125
when they can't like catch their breath it's like that's yeah it's kind of breathless totally we'd filmed the moment
126
because we were shooting that at the beginning of 2025
127
and like I'd had this really amazing experience of working on
128
that film where as a cast
129
and crew we were all like super super bonded Aidan Zamiri
130
who's one of my best friends was the director we'd all
131
sort of like fallen in love with each other in this way
132
and it was the longest time i'd been on set on a film
133
and had felt this new level of feeling inspired
134
which to be honest i don't get as much in music anymore probably
135
because i've been doing it for you know
136
so long now like over 20 years apart apart from when I'm working with Finn of course.
137
But actually seriously though, when I'm working with Finn and Alex, when I'm in the studio generally speaking, I will say I do feel that feeling,
138
but there are other elements of being a musician now that I find less thrilling, let's say.
139
But I think because, you know.. acting is kind of a newer thing for me
140
and being a part of making films whether
141
that be in front of the camera
142
or behind the scenes is like a newer thing for me i do feel this buzz
143
and so i think yeah i had felt that on the moment
144
and i wanted to kind of like capture
145
that in a song you know there's this moment
146
which is super sort of vulnerable and like kind of sparse and then and having these prettier elements with it.
147
Those kind of extreme contrasts, like for example, we have this kind of cute, quite sweet guitar riff sound,
148
and then combined with this higher one,
149
that's like, we sound shifted things up and down a lot to kind of create this grainier texture to it.
150
So if you hear this, this is shifted up very artificially.
151
But there's, it's kind of sounds like a synth is actually a guitar
152
and feels quite fake in one way but has a kind of nice graininess to it.
153
When we were writing we did a lot of the drums just on very very basic sort of 606 kits.
154
Yeah.
155
So we'd almost write to this you know, we'd just be writing to this.
156
Like really really small drums, not even like worrying about how the drums sound yet
157
because the most important thing is just writing the song at that point.
158
There's definitely like versions of all of these songs,
159
especially songs like this or maybe like Wink Wink, where I don't know, there is this like shinier,
160
more perfect production that is like very crafted, like a little more electronic.
161
Even like for example on rock music
162
when we had we initially we didn't have the live drums right it was like doing a slightly different thing
163
which was maybe a bit more sort of i don't know like immediately understandable
164
or something like that and i feel like there's probably versions of like this song where it's like way more
165
definitely 100 we could have definitely like 2015'd out we could have made the sound way slicker
166
and and way neater and better played and better mixed and all those things.
167
Yeah, but then it's not the point.
168
It's just funny to think about.
169
I'm like, oh, what is that version?
170
Like, it's probably good.
171
It's not the same thing, but it's just interesting.
تنزيل التطبيق
كل ما تحتاجه للتحدث بطلاقة
تقييم النطق بالذكاء الاصطناعيتقييم كل جملة
تدريب IPAأتقن كل صوت
المفرداتابنِ رصيدك من الكلمات
لعبة المفرداتتعلّم أثناء اللعب
نفس القناة
B21
Does Sydney Sweeney Know Her Lines?
Daily ConversationWorking Adults
B21
Jonathan Bailey & David Corenswet | Actors on Actors
Daily ConversationWorking Adults
B21
Does Travis Scott Know His Lyrics?
Daily ConversationWorking Adults
B2Camila Cabello On Mental Health And The Importance Of Self Care
Daily ConversationWorking Adults
B22
Jenna Ortega & Elle Fanning | Actors on Actors
Daily ConversationWorking Adults
B22
Noah Schnapp on Coming Out via TikTok & What He Doesn't Like About College | This or That
TeensDaily Conversation
B21
Cillian Murphy & Margot Robbie | Actors on Actors
Daily ConversationWorking Adults
B21
Jennifer Aniston & Quinta Brunson l Actors on Actors
Daily ConversationWorking Adults
B2Does Tate McRae Know Her Lyrics?
TeensDaily ConversationWorking Adults
B25
Does Benedict Cumberbatch Know His Lines?
Daily ConversationWorking Adults
B22
Sadie Sink Talks Her Little Known Singing Skills, 'Stranger Things 5' & Brendan Fraser
Daily ConversationWorking Adults
B2Does Miley Cyrus Know 'Hannah Montana' Lyrics?
Daily ConversationWorking Adults
B21
Leonardo DiCaprio & Jennifer Lawrence | Actors on Actors
Daily ConversationUniversity StudentsWorking Adults
B21
Jennifer Aniston & Lisa Kudrow | Actors on Actors
Daily ConversationUniversity StudentsWorking Adults
B22
Emily Blunt & Anne Hathaway | Actors on Actors
Daily ConversationUniversity StudentsWorking Adults
B23
Robert Downey Jr. & Mark Ruffalo | Actors on Actors
Daily ConversationUniversity StudentsWorking Adults
B216
Does JENNIE Know Her Lyrics From Her Biggest Songs?
TeensDaily ConversationHigh School Students
B2Timothée Chalamet & Emma Stone | Actors on Actors - Full Conversation
Daily ConversationWorking Adults
B2Brad Pitt & Adam Sandler | Actors on Actors - Full Conversation
Daily ConversationWorking Adults
FOR YOU
فيديو موصى به
B21
198 جمل
Charli xcx On Her First Kiss & Grammys Plans | W Magazine
Daily ConversationWorking Adults
B21
80 جمل
Fear Factory interview - Dino Cazares and Burton C Bell (part 3)
Daily ConversationWorking Adults
B21
493 جمل
Cardi B: Making “Imaginary Playerz” & AM I THE DRAMA? | Zane Lowe Interview
Daily ConversationWorking Adults
B22
35 جمل
Johnny Rotten lets loose
Daily ConversationWorking Adults
B21
240 جمل
Home Tour | My Finished London Flat
Daily ConversationWorking Adults
B21
192 جمل
Heated Rivalry's Connor Storrie & Hudson Williams On Intimacy, Romance and the Female Gaze | Them
Daily ConversationWorking Adults
![(2021/09/24) Christie's - Kid A Mnesia Interview - Radiohead [Thom Yorke, Stanley Donwood] (Video)](https://img.youtube.com/vi/7GEXXnWusOg/mqdefault.jpg)
B21
74 جمل
(2021/09/24) Christie's - Kid A Mnesia Interview - Radiohead [Thom Yorke, Stanley Donwood] (Video)
Daily ConversationWorking Adults
B2379 جمل
Joe Wilkinson And Anna Williamson Talk Girl Bands And Agony Aunts | Train-ing It | Channel 4
Daily ConversationWorking Adults
B21
86 جمل
Sophie Thatcher Shows Us What's in Her Camera Roll
Daily ConversationWorking Adults
B21
369 جمل
Taylor Swift - Sourdough, Space, Stadiums, Scott Mills and The Life Of A Showgirl.
Daily ConversationWorking Adults
B21
105 جمل
CLUTCH Neil Fallon Interview
Daily ConversationWorking Adults
B21
304 جمل
Christina Aguilera | On The Record
Daily ConversationWorking Adults
المفردات وملاحظات التحدث لهذا الدرس
هذا الدرس في المحادثة مبني على الفيديو “Charli xcx - Camera”. يحتوي هذا الفيديو على 171 جملة و2136 كلمة للتدرب على الترديد. مدة الكلام 12:22. يتكلم المتحدث بسرعة طبيعية، نحو 173 كلمة في الدقيقة، قريبة من المحادثة اليومية. 85% من الكلمات ضمن أكثر 3,000 كلمة شيوعًا في الإنجليزية، ويُستحسن مراجعة الباقي قبل البدء.
أهم المفردات في هذا الفيديو
15 كلمة من الفيديو تستحق التعلّم، مع النطق والمعنى:
| الكلمة | النطق | المعنى |
|---|---|---|
| guitar اسم | /ɡɪˈtɑɹ/ | قِيثَارَة, جِيتَار |
| drum اسم | /ˈdɹʌm/ | طَبْل |
| vocal صفة | /ˈvoʊ̯.kəl/ | صَوْتِيّ |
| tune اسم | /tjuːn/ | لَحْن |
| gate اسم | /ˈɡeɪ̯t/ | بَوَّابَة |
| element اسم | /ˈɛləmənt/ | عُنْصُر |
| lyrics اسم | /ˈlɪɹ.ɪks/ | مَنْشُود, كَلِمَات |
| breathe فعل | /bɹiːð/ | تَنَفَّسَ |
| capture فعل | /ˈkæp.(t)ʃɚ/ | أَسَرَ |
| pan اسم | /pæn/ | مِقْلَاة |
| vulnerable صفة | /ˈvʌln(ə)ɹəbl̩/ | عرضة, عُرْضَة لِلْجَرْح |
| preserve فعل | /pɹəˈzɝv/ | حَافَظَ |
| ambition اسم | /æmˈbɪʃ.ən/ | مَطْمَح |
| automation اسم | /ˌɔ.təˈmeɪ.ʃən/ | أَتْمَتَة, تَأْلِيَّة |
| layer اسم | /ˈleɪ̯ɚ/ | طَبَقَة |
الأفعال المركبة التي ستسمعها
| الكلمة | النطق | المعنى |
|---|---|---|
| come out فعل | /ˌkʌm ˈaʊt/ | خَرَجَ, غَادَرَ |
| cut off فعل | /ˌkʌt ˈɔf/ [ˌkɐɾ ˈɔf] | قَطَعَ |
| take off فعل | خَلَعَ |
جمل تستحق التكرار
جمل قصيرة وكاملة من الفيديو يمكنك استخدامها في الحديث اليومي:
- Well you had a song didn't you?
- I think that's the thing.
- It's not actually that like provocative to us.
- I think that's two different guitars, two simple guitars.
- I'm like, oh, what is that version?
القواعد في هذا الفيديو
أكثر التراكيب التي يستخدمها المتحدث، مع العبارات نفسها من الفيديو:
| التركيب | في الفيديو |
|---|---|
| المبني للمجهول be + اسم المفعول — التركيز على ما يحدث لا على من يفعله | Being drawn · is really captured · is shifted |
| المضارع التام have/has + اسم المفعول — حدث ماضٍ ما زال له أثر الآن | I've definitely done · I've made |
نطق يحتاج إلى انتباه
يستخدم المتحدث 47 من الصيغ المختصرة، مثل don't, I'm, I'd. انطقها بصيغتها القصيرة كما تسمعها.
- أصوات “th”: breathe /bɹiːð/, synthetic /sɪnˈθɛtɪk/, thrill /θɹɪl/, breathless /ˈbɹɛθləs/
- أصوات “sh” و“zh”: capture /ˈkæp.(t)ʃɚ/, ambition /æmˈbɪʃ.ən/, automation /ˌɔ.təˈmeɪ.ʃən/, contrast /kənˈt(ʃ)ɹæst/, flesh /flɛʃ/
- الكلمات الطويلة — انتبه لموضع النبر: automation /ˌɔ.təˈmeɪ.ʃən/, inherently /ɪnˈhɛɹəntli/, incredibly /ɪŋˈkɹɛdɪbli/, differently /ˈdɪf.ə.ɹənt.li/, uncomfortable /ʌnˈkʌm.fɚ.tə.bl̩/
أصوات يجدها متحدثو العربية صعبة:
- /p/ — ليس /b/: انطقه مع نفخة هواء: inspire /ɪnˈspaɪə(ɹ)/, capture /ˈkæp.(t)ʃɚ/, pan /pæn/, preserve /pɹəˈzɝv/, expose /ɪkˈspoʊz/
- /v/ — ليس /f/: مع اهتزاز الأوتار الصوتية: vocal /ˈvoʊ̯.kəl/, vulnerable /ˈvʌln(ə)ɹəbl̩/, preserve /pɹəˈzɝv/, pavement /ˈpeɪvm(ə)nt/, reactive /ɹiːˈæktɪv/
- تتابع الصوامت — لا تضف حركة بينها: drum /ˈdɹʌm/, tune /tjuːn/, element /ˈɛləmənt/, lyrics /ˈlɪɹ.ɪks/, breathe /bɹiːð/
كيف تتدرب بهذا الفيديو
- استمع إلى الفيديو كاملًا مرة واحدة دون أن تتكلم، ودوّن الكلمات التي لا تعرفها.
- ابدأ بسرعة 0.75×، وردّد جملة جملة، ثم عُد إلى السرعة العادية عندما يصبح الأمر سهلًا.
- سجّل صوتك وقارنه بالأصل، مع الانتباه إلى كلمات مثل guitar, drum, vocal.
ما هي تقنية التظليل الصوتي؟
التظليل الصوتي (Shadowing) تقنية تعلم لغة مدعومة علمياً، طُورت أصلاً لتدريب المترجمين الفوريين المحترفين. الطريقة بسيطة لكنها قوية: تستمع لصوت إنجليزي أصلي وتكرره فوراً بصوت عالٍ — كظل يتبع المتحدث بتأخير 1-2 ثانية. تُظهر الأبحاث تحسناً كبيراً في دقة النطق والتنغيم والإيقاع وربط الأصوات والاستماع والطلاقة.