Shadowing-Übung: Rosalía sobre la Gentileza, la Intuición, la Fe y el Proceso Creativo de Lux - Englisch Sprechen Lernen mit Video

I want to start first.

Wow, wonderful.

I'm not saying words with what I just heard.

And, honestly, what came to my mind was that all the paths lead to God.

And you reflect it in an incredible way.

And so sincere that I know that when people listen to this song,

you will feel an elevation in the spirit.

So, I would like to thank you.

I hope so, I hope so.

I hope so.

God me oiga.

Amen.

I'm fascinated by your sub-stacks.

I have to say that...

I'm starting, I'm learning.

I'm excited.

I'm a fan.

It's a new format, it's different for me.

It's beautiful.

I hope you keep writing there.

I'm fascinated by your words.

Thank you.

I'm looking for a moment.

I'm trying to create spaces for a long time.

I'm going to dedicate a little time to do this.

I hope you stay a little more.

I'm sure I'm not the only person who has been touched with your words.

Mmm, it means a lot for me because when I see your videos,

you express yourself so well and you do it with so much sensitivity and knowledge that you like the two texts.

It means a lot, you know?

Yes, thank you.

No, well.

Very good.

In your sub-stack you wrote, make a album can be like to build a puzzle without instructions.

Now I'm wondering, how did you know that Lux, at the moment of building it, was...

you said, okay, here, or something in you said, I'd like to continue.

I think that there would be the desire or the temptation to always want to continue it,

continue it like something interminable.

It could be something interminable, and there's a little bit of that temptation to continue or not to end it.

But I think there's a moment in which one says, that it's time to abandon this.

I think that other musicians have said it very well, when they say that a song doesn't end, it's not to abandon it.

And I'm quite agree with that.

I think that many times it can be felt like this.

But there is also a feeling in the body, which is very curious, I always think, and is that until it's not finished,

my body is not relaxed.

I always have to listen to the songs to be able to get them to work,

and then, when it's not yet where it has to be, My body is in tension.

I realize, as soon as the song is happening, that I'm more rigid.

So I say, here clearly there is a lot of work to do.

But when I see that my body is more relaxed, more open, and I can listen to the song from beginning to beginning,

without tensioning me, and it's not something that I'm aware of, I don't know if I ask myself, I say, how am I?

So for me it's a very physical question.

It's like, ah, okay, here I think we're in a good place.

Wow.

That's incredible that your body is the one that speaks to you to say, here is where you have to go.

Yes, because when you have put the love and the love enough, the love enough, I think there is something,

I don't know if it's in the frequency, I don't know what it is, that makes you enjoy it.

In other words, when you have not achieved a recipe, maybe not, I don't know if you think it's a good thing, but for example, when you cook,

when you have achieved all the ingredients, everything in its just measure, everything is like it has to be,

the joy that you feel when you try that plate, there is like an open in the body, like an joy.

And it's so I think with music, too.

And the same with the recetas, when it's not in its place, it's like...

It's like...

I love this relationship that you put with the taste of this result.

It's very true.

Yes, for me, there's a connection there.

Wow, of course.

Well, you mentioned that at the moment of creating, there are three phases.

The vomit intuitive, the persistence and the puling.

So in this transition between this madness, but also being aware of the way to get to the process,

for you in what moment is this devotion?

Yes, I think there are many times that I do a lot of work that is intuitive,

and it is not even after that I understand what I was trying to do or what I was doing,

I think there is a lot of intuition and it is after that I rationalize it.

So, I have to feel, I have to take it.

And I think that many times the best work is so.

It's when you start in a more intuitive way,

that you're almost leaving, you're making space so that something has been done.

If that makes sense, if that makes sense.

And then, as I said in the text, it's like, to pull, to give it a look,

to understand that this drawing is here.

I normally start drawing without knowing how it will end up being this drawing.

Although with the songs I have an idea before I enter the studio, I have an illusion, an idea, but I have no clear the way I play or I play.

It's something that's more animal.

And then, yes, it's more a posterior and then you start to understand.

And I think it's very important to make that space.

Make that space for things to pass.

Wow, I love it.

How beautiful how you leave yourself in this state.

You take it for the water.

I try it, eh?

No you don't want to.

There are days that I do more, there are days that I do less.

And I also try to be gentle with myself.

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If I don't have so much need to express myself or not,

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I just try to live and tomorrow will be another day.

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I don't know if you think about it,

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There are more times, more difficult to communicate or to understand that others.

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So, in a creative process, I have been able to execute this album, approximately.

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And there have been moments of all kinds of things.

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And I think that as artist, one has to leave those different states,

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those moments that can look better and less good.

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And not to be very serious, neither one nor the other.

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When you get very well or when you get too well.

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It's all part of the same thing.

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Everything will take you to where you have to get.

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I love it.

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When you talk about things that don't get well, How do you have that feeling?

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Yes.

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I think that I'm not aferring too much.

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I think that I'm never...

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I'm not aferring too much.

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Sometimes I'm losing my patience when I'm recording voices.

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I can take days and days and days, I can take a lot of time to understand what I need to be a song.

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And sometimes I can frustrate, I'm frustrated, but I think that every time I understand more.

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Every time I have their time, if I leave it, if I leave it as I have to be.

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I think that this song has taught me a lot of patience, I have taught me a lot of being more comprehensive with myself, and more patient.

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And, yes, I think that...

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Why did you say this?

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Because of the...

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A little bit of a child.

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Yes, yes, yes.

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Yes, yes, yes.

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Because, many times, I think that if you don't...

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I don't know, you don't...

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You don't have to do too much when you think you've been great.

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And another thing, you don't have to do too much

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And in moments in which you might not have been released so well, I think you can keep more clarity and know where you have to go.

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So it can lead you more quickly, not faster, but more direct to where you have to go.

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Thank you very much.

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No, thank you very much.

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But wait, let's make it longer.

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Really?

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No, no, no. I would say we would have to do more questions.

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Okay.

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Okay, well, I have more questions.

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Yes!

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I'm ready to go.

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Very good.

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So, in Lux, I sent a total release,

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where the music And it got me elevated to this point where I simply felt that I could touch the sky.

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That's crazy.

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What a crazy.

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Yes, and that was the best.

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Yes, because the record has that intention of verticality.

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And you've succeeded, sincerely.

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I felt when I'm getting off.

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That's how I felt.

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I said, wow, this is a way, where the spirit is elevated.

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At least I had that intention when it was done, when it was recorded, there was that illusion.

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Wow, when you were recording, did you think about putting the orchestra in your album

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or was it like in the process that you were able to get the get there?

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Inicial, before I started to make the project more formal,

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and before I entered the studio, I was sure I wanted to make a different song to Motomami, and ideally orchestral.

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I wanted to make it with that sound palette.

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It's something I've never done before and that I've made it to me.

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I'm trying to try it in those waters, in those situations.

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Something that has made me grow a lot as a writer, as a realist, as a musician.

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I have made me think of music differently, I think.

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And there's a lot of challenges, it's very complex.

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I was writing music with so many options and possibilities.

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To have all the sections, the way you can use the sections.

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It was a challenge and a game.

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I enjoyed it a lot, but there was a clear idea of what I wanted to do.

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Okay, when you say that you have many ways to make music, you just mentioned in your sub-stack,

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when you do music, you feel that everything is done before and better.

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How do you cultivate your own faith in your voice?

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What a good question.

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I mean, there is something very uncomfortable for me in the fact that nothing comes from the nothing.

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There was something before I arrived, there was something while I was here, and there will be something that I will continue to see when I leave.

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There is something that exists and that exists.

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So I know that I do music very present artists who have inspired me.

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I am conscious of creating something, as if something could come from the end,

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it's an illusion, something that doesn't have much sense.

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But it's an illusion that, at the same time, allows you to keep you up and say, I said, I'm going to study, I'm going to do music.

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So, it makes me think that, for a artist, it's very important to me,

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the work, the most round.

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It seems that in producing,

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in doing your art, you're constantly exercising, towards the work.

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the other, or you yourself, or whatever it is, you consider it as the most round.

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But, at the end, all your work will be justified maybe by that more round.

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But at the same time, all those works, which are not the most round, are necessary to exist for the most round.

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I think, one could sometimes be able to say,

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or maybe to think, the soberbity of believing that you have done the work, the more round.

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But maybe you never know what you will know.

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I think that's what's nice.

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You never know if you are getting to do that work, if you have done it,

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if you are already done it or if you are already getting to do it.

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I think that an artist, when he does his work, which is producing and creating,

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I think it's always to be able to get away or to get closer to the film.

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And never know if it's in a place or in another place.

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And John Cage, for example, I wonder if he had consciousness or not,

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or thought he was the most round or not.

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I wonder if, in general, they have that feeling or not.

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Because I don't have any idea.

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I think I'm going to do it.

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I'm going to do it and then I don't know.

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Whenever I have an urgency or a need to create, I will follow it.

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And I think that if an artist tries to find the most roundabout, I think that it's a bit of a natural nature of the artist,

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which is simply to create.

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If an artist just aims to do a work like this,

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the more redonda, I think you leave you from the nature of being an artist.

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Also, as a human being, right?

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100%.

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In your sub stack, in the first, in the first.

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And I really like it.

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But you really liked it.

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I really liked it.

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I really liked it.

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I think that a lot of people, as I think, I feel like a human being, you feel like you're in a place.

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You say, you're going to go to this or you're going to go to this place.

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And when you read your entry, Leonard Cohen wrote Hallelujah in Chelsea Hotel, there were some words that I said,

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it's like a guide, it's like a star in the sky when you were a girl, that you see and grow and keep you there in the sky.

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So I feel these words where you say, you're in the right path when you can't see the path.

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The more lost, the more found.

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I would like to know, do you think Lux was the way to find you?

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100%.

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But I think all the songs that have been made from a look, I feel that I've made the song that I needed to make.

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So, whenever it goes from that place, I think there will be a moment of being lost, of not knowing well.

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If anything that you're doing is not doing well, or if you're not going to have any sense,

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or if you're going to have any doubt, always overvoling everything.

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But at the same time, you keep that pulsion.

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It's because it gives you sense to your life and it fills you.

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So I think there is that being lost.

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Then, the more you get used to be lost,

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the more you are in you and the more you are in that being alive.

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Who was it?

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It was Kids.

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I think it was a kid that said something like that the internal disposition of living in the uncertainty,

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I believe, without the need of facts or rationalizing.

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I think it was from there.

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I think it was fatal.

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No, no, no. But it was from there.

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It's a sense.

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And sometimes I think there are moments where a person has to be guided by the emotions,

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but by the same intuition, to reach out to the message.

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So, what you have interpreted of that message is correct.

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Interpretes.

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It's correct, exactly.

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And so it is.

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One of the things that was really amazing was the different languages that I heard in LUC.

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I said...

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I don't speak them, eh?

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No importa, no importa!

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But it was fascinating how each song brought me into a different language.

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And I think sometimes when I think...

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We are all human beings, people who want the same thing, that love, that love, that love...

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100%.

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Sometimes we think that it's what we have to do to meet others.

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And I'm fascinated how in the song you make a nido,

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through the music, the lyric, what is being human.

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It's a little bit of a moment.

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It's a little bit of a moment.

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I was like, I'm so surprised, I said, I'm going to go home and I want to read about the language.

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Yes, yes.

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Yes, yes.

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Oh, thank you very much.

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It's really exciting to say this because I think in the album there is really that desire, that illusion of approaching the other and trying to understand the other.

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And I think through the language it's a way

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that for me is natural to approach the other because I always have been interested in languages.

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And I think, although I was a lot of the music, I realized that it was a lot of the illusion that we were so different.

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Because, although we express ourselves in different ways, although we use different codes, at the end, we probably are talking about the same thing.

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Exactly.

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is like finding those connections, those points, all those similarities,

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it gave me a lot of pleasure, it gave me a lot of sense to everything, as I was looking at different stories,

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different saints around the world, and many of them, the stories were so different, but there were many points in common.

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I love it, everything is connected.

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Yes, everything is connected.

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I'm going to pass a article that I've opened my mind.

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It's called The Universo Canta.

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It explains that scientists discovered that there are frequencies that are passing around us.

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We can't hear it, but everything around us is.

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You can feel it, even if you don't know.

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I think you said it in a TikTok.

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Yes.

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I think I was here because I heard it say it.

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It was very interesting.

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100%.

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I'll tell you something.

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I have a project idea, but I don't know.

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Cut.

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No worries.

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No worries.

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I'll tell you.

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I'll tell you.

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It's beautiful.

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Yes, yes.

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We need to keep our contact.

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When you come to Barcelona or Mexico, I'll tell you.

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I hope I'll study next year.

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If everything is good.

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What do you want to study?

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Design editorial.

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Oh, that's nice.

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So, if everything is good, I'll tell you when you're here.

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I'm sure you'll send it.

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I'll send you tips.

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It's a good idea.

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It's a good idea.

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I'm a good to meet you.

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I hope you could be more long.

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No worries.

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The next one.

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-Übung: Rosalía sobre la Gentileza, la Intuición, la Fe y el Proceso Creativo de Lux - Englisch Sprechen Lernen mit Video

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Was ist die Shadowing-Technik?