Shadowing-Übung: Andrew Ford talks about The Waltz Book, part 1 - Englisch Sprechen Lernen mit Video

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I was asked by Ian Munro if I'd write him a long piece

and I had the idea of writing a long piece made up of lots of short pieces

and not just lots of short pieces

but lots of short pieces of exactly the same length so

and a minute was the obvious uh length so so

so you you can think of these pieces as like tiles

in a mosaic um each tile is exactly the same size

but you could paint different things on the different tiles some

of them might be completely white some of them might have intricate at designs on them

and you put them all together next to each other and they make up a bigger

picture and it's so it's like that with the 60 pieces the 61 minutes in the Wolves book

some of the pieces contain a lot of notes you know very fast virtuosic things

and some of them contain very few notes, very spare and simple but each one lasts exactly a minute

and one of the things that attracted me about the notion was

that you would be in a way playing with time

because our sense of time depends partly on what's happening and

if there's a lot of things happening we experience time differently than if there's just one thing happening very slowly.

So some of these minutes don't seem like minutes, some of them seem much shorter than minutes

and some of them seem longer than minutes and yet they are in fact all the same.

I thought there had to be something that each of these pieces had in common

and making them all into waltzes or perhaps I should say waltz related pieces was the way to do it.

Some of them are real waltzes, some of them you really could dance to if you wanted,

some of them are more like pieces about waltzes but then so are some of Chopin's.

This piece works on lots of different levels.

First of all, I wanted it to be possible for most of the waltzes to be played on their own,

so that you could play one of them as an encore at the end of a concert, for example.

Then I also wanted it to be possible for a player to make a little group of waltzes,

to select their favourite six or twenty or whatever, and make their own kind of concert piece.

Then the big level, of course, is where you play from number one to number sixty, going right through.

And they all had to work.

That was my idea.

Yeah, so I started, the first one I composed was Jasper's Waltz, which is number five now.

And I wrote it just on spec for a friend's baby who had just been born

and it starts with the second and third beats heard

but not the first beat so

if the basis of a waltz is um -pa -pa

um -pa -pa um jasper's waltz starts with the ba -ba -ba -ba and that became one of the unifying factors.

That figure, the 2 -3 of 1 -2 -3, is in, oh I would think at least 20,

probably more of the waltzes.

So that keeps coming back as a feature.

And as I started to compose these pieces, more of these features began to occur.

But I was still just writing waltzes on I was still

just sort of in a way experimenting with the idea of writing these minute long pieces

which had to have a beginning and a middle and an end.

And then came the point where I thought right now I've got maybe 18 I think of these waltzes.

If I just keep writing waltzes they're not going to fit together in the end.

I paused.

It was at this stage that I sort of made the grand plan

and I drew up a chart with 60 slots and I started

and I took the waltzes that I'd written and I started slotting them in

and some of them went in the wrong place to start with.

But once you've put 18 little pieces of the mosaic into place you've got the beginning of a structure there.

You've got for instance this place where there's a really loud one and this place where there's a really slow, quiet one.

And that gives you a sense of the overall shape and you can then decide whether you're going to put another quiet,

slow one next to the other, the quiet, slow one you've got, or whether that's where the piece turns a corner or something completely new happens.

Thank you.

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Wortschatz und Sprechhinweise zu dieser Lektion

Diese Sprechübung basiert auf dem Video „Andrew Ford talks about The Waltz Book, part 1“. Diese Wörter kommen am häufigsten vor: piece, waltzes, waltz, writing, tile. Dieses Video enthält 56 Sätze und 774 Wörter zum Nachsprechen. Der gesprochene Teil dauert 5:50. Der Sprecher spricht gleichmäßig mit etwa 133 Wörtern pro Minute – ein angenehmes Tempo fürs Shadowing. 86 % der Wörter gehören zu den 3.000 häufigsten im Englischen; den Rest solltest du dir vor dem Üben ansehen.

Wichtiger Wortschatz in diesem Video

15 lernenswerte Wörter aus dem Video, mit Aussprache und Bedeutung:

Wort	Aussprache	Bedeutung
tile Substantiv	/ˈtaɪ.əl/	Kachel, Fliese
slot Substantiv	/slɑt/	Schlitz, Nut
mosaic Substantiv	/moʊˈzeɪ.ɪk/	Mosaik
chart Substantiv	/t͡ʃɑɹt/	Karte
occur Verb	/əˈkɜː/	passieren, vorkommen
select Verb	/sɪˈlɛkt/	auswählen
experiment Substantiv	/ɪkˈspɛɹ.ə.mənt/	Experiment, Versuch
partly Adverb	/ˈpɑɹtli/	teilweise, zum Teil
spare Adjektiv	/spɛɚ/	überschüssig, überflüssig
differently Adverb	/ˈdɪf.ə.ɹənt.li/	anders
attract Verb	/əˈtɹækt/	anziehen
depend Verb	/dɪˈpɛnd/	abhängen, ankommen
notion Substantiv	/ˈnoʊʃən/	Ahnung, Ansicht
pause Substantiv	/pɔːz/	Pause
speculation Substantiv	/ˌspɛk.jəˈleɪ.ʃən/	Spekulation, Betrachtung

Phrasal Verbs, die du hören wirst

Wort	Aussprache	Bedeutung
come back Verb		zurückkommen, zurückkehren
draw up Verb		aufsetzen
make up Verb	/ˌmeɪk ˈʌp/	wiedergutmachen, kompensieren

Aussprache, auf die du achten solltest

Der Sprecher verwendet 10 Kurzformen und abgeschwächte Formen, zum Beispiel you've, I'd, don't. Sprich sie in der kurzen Form, so wie du sie hörst.

Die Laute „sh“ und „zh“: notion /ˈnoʊʃən/, speculation /ˌspɛk.jəˈleɪ.ʃən/
Lange Wörter – auf die Betonung achten: experiment /ɪkˈspɛɹ.ə.mənt/, differently /ˈdɪf.ə.ɹənt.li/, speculation /ˌspɛk.jəˈleɪ.ʃən/

Laute, die Deutschsprachigen schwerfallen:

Stimmhafter Auslaut — /b/, /d/, /g/, /z/, /v/ am Wortende nicht verhärten: depend /dɪˈpɛnd/, pause /pɔːz/, compose /kəmˈpəʊz/

So übst du mit diesem Video

Höre dir das ganze Video einmal an, ohne zu sprechen, und notiere die Wörter, die du nicht kennst.
Sprich Satz für Satz in normaler Geschwindigkeit nach und wiederhole jeden, bis dein Rhythmus zum Sprecher passt.
Nimm dich auf und vergleiche mit dem Original; achte dabei auf Wörter wie tile, slot, mosaic.

Was ist die Shadowing-Technik?

Shadowing ist eine wissenschaftlich fundierte Sprachlerntechnik, die ursprünglich für die professionelle Dolmetscherausbildung entwickelt und durch den Polyglotten Dr. Alexander Arguelles populär gemacht wurde. Die Methode ist einfach aber wirkungsvoll: Du hörst englisches Audio von Muttersprachlern und wiederholst es sofort laut — wie ein Schatten, der dem Sprecher mit nur 1–2 Sekunden Verzögerung folgt. Anders als passives Hören oder Grammatikübungen zwingt Shadowing dein Gehirn und deine Mundmuskulatur, gleichzeitig echte Sprachmuster zu verarbeiten und zu reproduzieren. Studien zeigen, dass es Aussprachegenauigkeit, Intonation, Rhythmus, verbundene Sprache, Hörverständnis und Sprechflüssigkeit signifikant verbessert — was es zu einer der effektivsten Methoden für die IELTS Speaking-Vorbereitung und reale englische Kommunikation macht.

Shadowing-Technik: die vollständige Schritt-für-Schritt-Anleitung lesen →

Shadowing-Übung: Andrew Ford talks about The Waltz Book, part 1 - Englisch Sprechen Lernen mit Video

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