Shadowing Practice: Learn the IPA for English Consonants! - Learn English Speaking with Video

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So as we get into sounds, we should know a little bit about our speech organs.

Now, it's important to know that we do not have any specialized organs just for speech.

And what I mean by that is, of course, we have organs that are used for speech, but their primary function is biological.

And one of their secondary functions is to use for speech.

In other words, we've adapted those organs to be used for communication purposes.

So for example, what the lungs are doing is they're taking in oxygen.

So O2 comes in or just O oxygen, whatever.

I'm not a chemist.

And then carbon dioxide comes out, CO2 comes out.

So that's their primary function.

But in terms of what it's doing for speech is it's giving us air that we use to make our sounds.

Because if we couldn't shoot air out of our mouth while we speak, then we wouldn't be making any audible noises.

The larynx consists of the epiglottis, supraglottis, vocal cord glottis, and subglottis.

It's this little area down in here.

And in speech, it is used to produce voicing.

So in other words, the difference between an S sound

and a Z sound is just whether your vocal folds are vibrating or not.

So if you hold your thumb and your index finger

and you put it around the front of your throat and you make the sound S and Z, you'll notice when you make Z,

it will feel vibration in your fingers.

While if you make S, you're not going to feel any vibration at all.

So it is your vocal cords, your vocal folds that are vibrating, that are causing that difference between S and Z.

and your glottis is the area around or I should say in between your vocal folds where air is passing through.

So we'll take a look at a diagram in a bit

and hopefully it'll make a little bit more sense about why vibration occurs.

So when we take a look at voiceless and voice diagrams here

This is a top -down look through your neck.

So you can see the glottis here.

This is the front of your neck and this is the back.

And we see what are called arytenoid cartilages right here.

So I will write that there, arytenoid cartilage.

And what happens in a voiceless sound is they're pretty loose.

So as air flows up through your glottis out of your mouth,

these vocal folds, which I'll color in red right here, are pretty loose.

So they're not vibrating as air goes through.

But in voice sounds, you're going to have vibrations.

So what happens is these arytenoid cartilages tighten up, so they kind of pull forward.

These vocal folds get really, really close together and then

when air comes through air is coming through at such a high turbulence

and the vocal folds are so tight

that they begin to vibrate this is like a guitar string

so if you were to pluck a guitar string

when it's loose it wouldn't vibrate but if you were to strike it

while it's tight it would vibrate quite a lot

and instead of using your finger to pluck it instead the vocal folds are being plucked by air essentially

so there's some sound con sound contrast you can here like h

and high doesn't have any vibration the p

and lap you might get some vibration at the end

when the vowel comes out but just the p itself is not vibrating f and t and fort

if you make that f sound

and hold it you're not going to feel any vibrations and the K in like doesn't have any vibrations either.

In comparison, we have D, D, D has some vibration.

The G in G has some vibration.

If you hold an L sound, you'll feel a vibration on your throat.

And same with live, that V sound has some vibration too.

So when you learn voiceless and voice sounds, it is a good idea to learn some of them in pairs.

So for example, P and B are the same sound, except one is voiced, which you write VD, and P is voiceless, which you write VLS.

Same with the TD contrast and KG.

So these are all very similar sounds that only differ in voicing.

Some do not have voiceless counterparts like L and R.

It's just R but upside down.

It's the specific symbol that we use and then there's other contrasts like F

and V and S and Z and so on.

So we'll learn all of these.

Now, instead of learning the cymbals first and learning whether they're voiceless or voiced,

it's best just to play around with your throat and feel it to see if these sounds are voiceless or voiced.

So try it yourself.

Now in massive, sss, when you feel your throat, you do not feel any vibration at all.

This is voiceless, and I'll give you the symbol for this.

It is just s.

In the case of flavor, rrr, if you hold that, you definitely feel a vibration.

So this is voiced, and we use an upside down r to make this rrr sound.

That's the symbol for it.

Turnip.

There's definitely no vibration on the P sound.

So this is voiceless.

And we just use the letter P for that.

And then for the verb use, use, this one has vibration.

This is voiced.

And we use a Z symbol for this because this is the Z sound, use.

If you think of use as a noun, then things are a little bit different.

Because if you say use, suddenly this is voiceless, and we would use the S symbol for that, because that is the S sound,

voiceless, use, compared to use.

So the difference between a noun and a verb in this case is whether or not the sound is voiceless or voiced.

Now, we're going to segment our vocal tract into two different cavities.

So the vocal tract will be everything above the larynx, so consider it from this area up.

And our vocal tract is used to shape sounds.

So in other words, the tongue and the lips are going to do things to change the sound that we output,

and we could even let air through our nose to produce certain sounds.

So everything that comes out of the mouth is considered the oral cavity, and if it comes out of the nose,

then things are going through the nasal cavity.

Oh, let's ask ourselves, are these questions nasal or not?

So when we look at these certain sounds like kuh, n, n, and ss, or zs,

we have to ask if air is coming out of our nose.

And one way to check this is just to see

if you can pronounce the sound with your mouth completely closed

so sack now I gotta let air out of my mouth

so this is an oral sound

it's coming out of the mouth in the case of flaming

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I can keep my mouth closed no air is coming out in fact

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if I put my fingers in front of my nose flaming

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you can kind of feel air come out of your nose so this is a nasal sound and we use this symbol.

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It's an N with a little hook and that represents that NG sound we have in English.

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What about turn?

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You can hear the nasality in it.

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So this is a nasal sound and this is just an N symbol.

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And finally for use or use, air is clearly coming out of my mouth here.

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This is an oral sound and depending on whether this is a noun or a verb, it'll either be S or Z.

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a sack in the first one is just a K or our symbol.

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Now we're going to learn the consonants before we learn the vowels.

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And when we learn consonants, we want to be able to describe each sound and symbol.

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So we have three different dimensions that we can describe them on.

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We've already talked about voicing, but we'll review it anyway.

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And there's also the place that the sound is taking place.

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So in other words, which articulators in your mouth are shaping the sound?

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Is it at your lips, like both lips?

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Is it your bottom lip and top teeth?

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Is it the little ridge in your mouth?

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Is it right behind the teeth?

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Is it more towards the back of the mouth?

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That's going to be the place.

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And then the manner of articulation is going to tell us

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what the airflow is doing as it comes out of our vocal tract, either oral or nasal cavity.

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So you can think about three dimensions.

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There's the vocal fold vibration, there's the place that the sound is being shaped, and there's the way that the airflow is coming out.

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So for voiceless sounds, these are sounds like TTK, SFH, so H, T, K, S, F, H.

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And the voice sounds have that vibration, so B, D, G, S, V, M, M.

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And then also, every single vowel that we have in English is going to be voiced as well.

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So whenever you have a vowel, you don't have to worry about asking if it's voiceless or voiced.

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It's going to be voiced.

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There are some languages that do have voiceless vowels, but usually in very specific circumstances.

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So if you go back to the IPA chart, what you're going to see in each box is usually a separation.

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The one on the left is the voiceless sound, and the one on the right is the voiced sound.

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So as we go through the different places of articulation, we'll also point out the contrast between voiceless and voiced.

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And as you use them more, as you think about them more and feel your throat more,

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you'll become more familiar with these sounds and it'll become quite second nature.

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So we're going to illustrate a lot of these with face diagrams.

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And if we wanted to check whether or not a sound is voiceless or voiced in our face diagram representation,

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we're looking at this little line down here.

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If it's wavy, that means that it's voiced.

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If it's a straight line, this will mean that it's voiceless.

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So this is just going to be a way to indicate on face diagrams whether

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or not a sound is voiceless or voiced.

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And this is not a bad way in order to see the sounds

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and think about them if you can't visually imagine them inside your own mind.

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So the place of articulation is the second dimension that we'll take a look at.

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And when you learn these sounds, it is very important that you produce the sounds in your mouth

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and you think about them and you try to feel where your tongue is

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and what your lips are doing because the best way to learn phonetics is not to memorize things.

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It is to use your mouth as a cheat sheet and to really understand how the sounds are being made.

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So take time with sounds and consciously try to feel what is happening in your mouth.

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So the first place of articulation error is the bilabial sounds.

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In other words, bi meaning two and labial meaning lips.

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I'm sure there are jokes you can make with the word labial, but we will not say them here.

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Okay, so we have three bilabial sounds in English.

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One is the puh sound, and this is a voiceless sound.

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So pitch, happy, flap, pan.

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There will be some differences in how it's pronounced.

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For example, in pitch, it's a little bit more airy than in happy.

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And in flap, it's not really released compared to pitch, we're happy.

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But we'll talk about those differences a little bit later.

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We have P's voiced counterpart, buh.

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So this one is voiced in words like bar, rubble, job, or butler.

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There's usually just one way to pronounce this.

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Although at the end of a word like job, you may not release the B.

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So it may just be like job with no release of air afterwards.

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And then we have a nasal sound.

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So this is voiced as well.

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Anything that comes out of your nose is voiced.

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So minus, hammer, wham is that M sound.

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So these are the three bilabial sounds, and you'll usually denote them by having two closed lips at the front of your diagram.

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There are more bilabial sounds, but these are just the ones in English.

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Now we have two labiodental sounds in English.

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So labio meaning lip again and dental meaning tooth.

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So this is bottom lip and upper teeth.

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So we have F and V.

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F is the voiceless version and V is the voiced version.

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So in flavor, half, rough, that F sound.

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You can feel your bottom lip touching your top teeth.

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And same with Venus, lives, save it's the same as F it's just

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that your vocal folds are vibrating so if you know F you know V

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if you know V you know F just feel your throat and you can feel that difference

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interdental is exactly what you'd think it would mean dental meaning teeth

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and inter meaning in between so we have a voiceless version

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and a voiced version now in English both of these are just th sounds

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but there is a difference

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so in think bath ethereal these are voiceless you do not feel any vibration in your throat

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when you say it but when you say this or though or father

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you can feel vibration there

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so we have two different sounds here

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we have the theta symbol for the voiceless one it's the same as it's pronounced in theta

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or theta depending how you want to say it.

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And then we have what's called ed for the voiced one, which looks like a delta with a little squiggle through it.

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And this one to me kind of looks like a D.

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I also know that D is a voice sound, so that's just how I initially remembered it when I first learned these sounds.

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We have a lot of different alveolar sounds, and this is your hard ridge that is right behind your teeth.

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So if you put your tongue up against the back of your teeth and you drag it back,

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eventually you're going to feel it start to move up.

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That hard ridge right before you start to move up is what's called your alveolar ridge.

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So T, D, N, L, the S and Z.

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These are sounds that you make at that ridge.

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So T and D.

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are voiceless and voiced counterparts.

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So as in trade, Matt and falter, you can not feel any vibration in your throat.

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And then the D version, which is voiced for durable, tied, made, usually represented with the D letter in English.

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Now we have a nasal sound, which is voiced our N noise, noggin, ban.

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We have air coming through our nose when we pronounce the N sound

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and then we have L which is also a voice sound in light fall and tremble.

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There is a difference in the way that you pronounced L at the beginning and end of a syllable.

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Light really comes off that alveolar ridge while fall if you pronounce

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that like an English speaker you'll have your tongue bunched up a little bit at the back as well

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when you produce fall.

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So it would be the same in shremble.

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It's at the end of a syllable, so we could have that little bunching up at the back, but these are still L sounds.

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Now we have S, Z, and R as well.

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So S is the voiceless version of Z, so S would be straight,

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mass, rancid, and Z would be made zebra present, so you can feel that vibration in your vocal fold.

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Sometimes S makes the Z sound, so we don't want to be trusting our letters.

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We want to be trusting our pronunciation.

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And finally, we also have R, which is voiced, so in running, far, attacker.

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We use an upside down R for this.

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The reason is because a right side up R, a regular R, is actually a trill.

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So this is what they would have in Spanish when you have a word like perro with two r's.

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I can't really do trills, but if you think of a traditional Spanish r, that is what the upside right r is.

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Now we have four post -alveolar sounds, two voiceless voiced pair.

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So the first two are sh and zh,

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and your tongue isn't really touching the alveolar ridge or behind it,

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but it's a little bit further behind the alveolar sounds and it's pretty close.

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It's causing a lot of turbulence.

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So in the case of shrimp bash and lashing, this is usually the sh letters in English.

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Sometimes they appear in other letter formats, but think of your typical sh.

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This is your integral sign and this is also called esh.

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Now we have a j sound, which is just sh, but with vocal fold vibration.

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So treasure, azure, vision.

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And this looks like a Z with a little curve on it.

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And this is called edge.

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I don't know how you spell edge, but that is my guess for how you would spell it.

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We have another voiceless voiced pair.

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You see the j from before badge, jump, and fragile but we also have that ch version that is voiceless like chirp, bat, ch, chump.

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So these two are combinations of other sounds.

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So the voiceless ch is a combination of t and sh.

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And if you pronounce those both simultaneously, you get ch, you get that ch sound.

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And with badge and judge, it's like doing a d followed by a j immediately.

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D j j j j.

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So we need the tie bar on top to symbolize that this is one sound.

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We have one palatal sound.

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So this is kind of like in the dead center of your mouth near the top.

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This is the Y sound.

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We use the J symbol for it.

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So words like young, yes, and yearn.

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That is Y.

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This one's a little bit harder to feel, but you'll feel the center of your tongue being pushed towards the top of your mouth,

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but not quite touching.

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Young.

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And I should mention, this one is voiced as well.

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Now, in terms of our velar sounds, which are almost the final sounds we have, we have kuh, guh, and n.

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Kuh and guh are voiceless and voiced counterparts, so kick, call, toucan, while guh has that vibration in gone, grumble, and bag.

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And finally we have ing, which is voiced, it's a nasal sound, and this represents that ng sound,

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and occasionally sounds before the letter k or g.

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So running, hitting, ink.

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If you say ink, you can feel that ng at the back of your mouth, right up against the velum there. So ink.

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If it were alveolar like a regular N, it would be ink, ink, and we don't say that.

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That's a little bit difficult to say.

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We say ink with ing at the back.

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Now, our final two sounds are H and the glottal stop.

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The glottal stop is considered to be voiced, I believe, and the H is voiceless this.

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So it's a little bit hard to hear the glottal stop because basically it's no air coming out.

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So, uh, oh, it's that middle sound between up and oh, oh, or even if you say the word button,

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button, button, uh, there's like that little pause there, button, mountain.

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It's that little space where you're not really pronouncing anything.

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Basically air is getting trapped behind the glottis like where your

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vocal folds are like the vocal folds are shut tight air is trapped behind

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and then is released now with h happy aha aha these are voiceless sounds

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and this is just air coming out of your vocal folds like a steady stream

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so just a quick check

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we take a look at some of these underlined sounds what is the place of articulation where we're making them

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and feel where they are in your mouth try not to rely too much on the examples so in america where is

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that being made well that's being made towards the back

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this is a velar sound your tongue is pushed up against your velum

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and this would be the k symbol in canada duh duh

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this is at your alveolar ridge you can feel your tongue at

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that hard little ridge there before it starts to go upwards in your mouth

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and this is just a d sound new england england glen g g g g g

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this is at the back as well right where the k is

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and this would just be our g sound so this is also velar

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and finally for washington it's not quite at the alveolar ridge it's a little bit further behind

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so we call this a post -alveolar sound and

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if we want to know the symbol for this this is esh this is our integral sign

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so those are where the different sounds are being produced in our mouths now we can put things together

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and describe each sound with a symbol a voicing any place

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so I encourage you to try this

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and this is the best way in order to build up

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your knowledge is just to do this a bunch of times

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and really start to feel where the sounds are in your mouth until it becomes second nature. So trick.

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This is a voiceless sound.

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There's no vibration in the throat.

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And this is alveolar because it's being made up at hard ridge.

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And this is just the T symbol. In catsup.

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That's a voiceless sound.

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It is made with your two lips.

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So this is bilabial.

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And this is just the P sound.

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Now in leisure

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or leisure doesn't really matter what the vowel is it's it's voiced we can feel the vibration

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and this is where that SH sound is it's a little bit behind the alveolar ridge

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so this is considered a post -alveolar sound and

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if we remember the symbol for this this is the Z with a little curl at the bottom this is edge.

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Now in the case of mapping NG, NG, air is coming out of our nose.

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This is voice.

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We feel vibrations too.

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NG is made with your tongue against your velum in the back.

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So this is a velar sound.

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And this is the N with a little hook on it.

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This is also written as engma, if you want to give a name to this sound.

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Finally, in wither, wither, th, th.

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This is voiced.

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It's made with our tongue between our two teeth, our top and bottom teeth.

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So this is going to be interdental.

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And the symbol we have for this is our little delta with a squiggle through it.

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So we're now able to describe sounds in terms of voicing and place.

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We just have to learn about manner.

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When we talk about manner of articulation, we're talking about what the airflow is doing as it goes through the vocal tract.

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So either through the oral cavity or the nasal cavity.

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So if we take a look at these two diagrams on the page,

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You'll notice that if we draw airflow from our lungs out of our mouth on the left diagram,

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we get some closure, some stoppage of air before it's released.

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While if we compare the one on the right side,

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then we can see that actually the air can continuously flow out through a very narrow passageway.

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So what we would say is

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that the sound on the left is representative of a stop where air is held before released,

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while the one on the right would be an example of a fricative.

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In other words, there's a little bit of frication there while the air is continuously escaping outside of your mouth.

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So we'll go through each of the manners of articulation and show the sounds that represent each of those.

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So the first one is stop and this is

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when we have air that gets blocked behind an articulator in the mouth before it's released.

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So in the left one this is a bilabial stop

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and these are stops bilabial because the air is being held right behind the lips right before it's released.

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So these are the sounds p and b and also m in this case although m is a little bit special

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We'll talk about that in just a moment.

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In the middle diagram, we see air being held right behind the alveolar ridge.

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So these are sounds like T and D, and N will also be a special case.

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Now in the third example, we can see it's voiced, and as air tries to get through,

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it's being held right behind the velum here, but it has an escape passage through the nose.

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So this is an example of a nasal stop in this case.

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And we can have velar stops where we don't have it going through the nasal cavity, in other words, K and G,

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but we do have that ang sound, which is what this diagram represents.

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So when we think about stops, we shouldn't be thinking about it whether air is continuously leaving our mouth or nose,

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but rather the fact that air is being stopped in the oral tract.

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so the fact

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that air is being stopped in this position behind the velum does mean it's a stop

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but the fact that it's going through the nose it's being redirected makes it a nasal stop

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so it's going to be the same with m

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and with n in both of these cases you'll still have air being stopped inside your oral cavity

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but air will also escape through the nasal passage at the same time

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which means that you can hold those sounds

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so all of the english stops are listed below the only one we haven't shown is the glottal stop

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and that's because the stop is being made right where your vocal folds are right behind the glottis there.

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So it's a little bit hard to show that in a base diagram when you actually have a glottal stop.

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Now the second one is a fricative.

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So this is where airflow is turbulent and continuous, leaving the oral cavity.

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So what we don't have listed here are the labiodental ones,

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F and V, but we do have S and Z on the left diagram there.

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In fact, if I'm being perfect, I really shouldn't cross my Zs there.

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So air is continuously coming out between the tongue and the alveolar ridge.

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Now these are turbulent, so there's a very tight constriction there.

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And what this means is

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that the air pressure inside of your mouth is going to be more dense than the air pressure outside of your mouth.

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So the fact that you have that difference in air pressure is what's causing that frication, what's causing that noisiness.

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So that's S and Z in the left one.

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In the middle we have palatal alveolars, so we have the sh and j sounds, and then on the right we have our interdental,

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our th and th sounds.

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So in the face diagram for the interdental, it's a little bit hard to see,

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but there is space between your teeth and between your tongue and your teeth where air can come out,

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but the air pressure inside is much denser than the air pressure outside of your mouth.

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So with H, H is going to be down at the bottom where your glottis is,

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and for the F and V sounds you would have the lower lip

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and the top teeth with a little bit of space in between.

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It would look a lot like the interdental one, but the lip would be facing upwards in that case.

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Now we have affricates.

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So you can think of an affricate as a combination of a stop and fricative, it begins as a stop,

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and then immediately releases into a fricative.

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So even when you think about how the sounds are formed in the cymbal, it's basically a stop plus a fricative,

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with a tie bar above to say that these are simultaneously being made.

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So it's a little bit hard in a face diagram to show these.

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Here's an attempt on the right, where the black is where the tongue starts, so right behind the alveolar ridge,

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and then it quickly moves up to release.

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So you can hold these sounds a little bit, but it does start to sound like that sh sound at the end, or with j.

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It does sound like at the end of it because that is where the tongue ends up.

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So you can think of an affricate as a combination of a stop and fricative at the same time.

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And other languages will have other affricates.

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So for example, German will have the E and F affricate. And something like

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Greek would have the P and the S together like in psychology, which would be pronounced something like psychologia.

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You can hear that PS at the beginning.

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Japanese would also have an example of a TS together like in the word tsunami

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so in English you would write tsunami

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and we'd probably pronounce it without the T

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but in Japanese you would pronounce

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it with the T as one sound with the S tsunami

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now we have a couple special sounds called liquids these are kind of like fricatives but the airflow is much freer so

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Lateral liquids, we just have one, which is the L.

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We call this lateral because when we make this sound, the tongue is making contact with your alveolar ridge here.

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The tongue looks a little bit like this if I were to draw it.

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But air is flowing through the sides of the tongue.

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You don't have any turbulence there, and the pressure inside and outside of your mouth is pretty equal.

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In the case of the rhodic liquid, which is R,

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it's very similar to L except the tongue is gonna bunch up a little bit in the back

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it's gonna look a little weird with that diagram

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but with rhodic liquids you get a little bit of tongue bunching at the end

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and air is flowing pretty continuously you don't hear any turbulence

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when you hear err err the airflow is pretty similar inside

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and outside of the mouth now the last manner of articulation are glides and these are sometimes called semi -vowels.

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They're basically consonant sounds that are nearly indistinguishable from their vowel counterparts.

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So we have two, we have the voiced labio -velar glide W.

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So labio here is for the rounded lips and velar is the place where you also have some tongue action.

415

So in a word like watch or ooh ooh or whimper, this is a glide.

416

It is very, very similar to the vowel sound ooh.

417

In fact, if you were to change the W to an ooh and go whimper,

418

whimper, you'd probably hear it as a W if you're an English speaker.

419

And then we have our voiced palatal glide, yuh.

420

So in yes, yearn, and value, the yuh sound is kind of hidden between the L and the U.

421

So if we were to actually write this out, val -u, we don't say val -u or va -u,

422

we say val -u, and we get that yuh sound right before our u sound.

423

So this is very similar to the sound e in terms of its actual pronunciation and articulation.

424

So you can think of these semi -vowels or glides as being like very quickly articulated,

425

there's not really contact with any point at the top of your mouth

426

so it does behave a little bit more like a vowel than a consonant in some ways

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Vocabulario y notas de pronunciación para esta lección

Esta lección de conversación se basa en el vídeo “Learn the IPA for English Consonants!”. Las palabras que más se repiten: sound, voiceless, voiced, mouth, vibration. Este vídeo tiene 426 frases y 5405 palabras para practicar shadowing. La parte hablada dura 33:19. El hablante habla a un ritmo natural de unas 162 palabras por minuto, cercano a una conversación cotidiana. Solo el 80 % de las palabras está entre las 3.000 más comunes del inglés, por lo que el vocabulario es exigente.

Vocabulario clave de este vídeo

15 palabras del vídeo que vale la pena aprender, con su pronunciación y significado:

Palabra	Pronunciación	Significado
vibration sustantivo	/vaɪˈbɹeɪʃən/	vibración
vocal adjetivo	/ˈvoʊ̯.kəl/	vocal
symbol sustantivo	/ˈsɪmbəl/	símbolo
ridge sustantivo	/ɹɪd͡ʒ/	cresta, arista
fold verbo	/ˈfəʊld/	plegar, doblar
diagram sustantivo	/ˈdaɪ.ə.ɡɹæm/	diagrama
throat sustantivo	/ˈθɹoʊt/	garganta, gorja
lip sustantivo	/lɪp/	labio, labro
cavity sustantivo	/ˈkæv.ɪt.i/	cavidad
oral adjetivo	/ˈɔː.ɹəl/	oral, bucal
tract sustantivo	/tɹækt/	extensión
continuously adverbio	/kənˈtɪnjuəsli/	continuadamente, continuamente
counterpart sustantivo	/ˈkaʊntɚˌpɑɹt/	contrapartida
contrast sustantivo	/kənˈt(ʃ)ɹæst/	contraste
liquid sustantivo	/ˈlɪk.wɪd/	líquido

Phrasal verbs que vas a escuchar

Palabra	Pronunciación	Significado
come out verbo	/ˌkʌm ˈaʊt/	revelarse, salir a la luz
go through verbo		atravesar
end up verbo		terminar, ir a parar
get through verbo	/ɡɛt ˈθɹu/	aguantar, salir adelante
pass through verbo		atravesar
point out verbo		señalar, apuntar

Frases que vale la pena repetir

Frases cortas y completas del vídeo que puedes reutilizar en la conversación diaria:

Is it at your lips, like both lips?
Is it your bottom lip and top teeth?
Is it the little ridge in your mouth?
We'll talk about that in just a moment.

Gramática en este vídeo

Las estructuras que más usa el hablante, con las palabras exactas del vídeo:

Estructura	En el vídeo
Oraciones condicionales if + oración, will/would + verbo — una condición y su resultado	If you hold an L sound, you'll feel · If it's a straight line, this will mean
Voz pasiva be + participio pasado — importa lo que ocurre, no quién lo hace	are called · being plucked · is voiced
Oraciones de relativo who / which + oración — información extra sobre una persona o cosa	version, which is · sound, which is · sounds, which are
Present perfect have/has + participio pasado — una acción pasada que sigue importando ahora	we've adapted · We've already talked · haven't shown

Pronunciación a tener en cuenta

El hablante usa 73 contracciones y formas reducidas, como don't, we'll, we're. Dilas en su forma corta, tal como las oyes.

Los sonidos de “th”: throat /ˈθɹoʊt/, bath /bɑːθ/, tooth /tuθ/, thumb /ˈθʌm/, theta /ˈθiːtə/
Los sonidos de “sh” y “zh”: vibration /vaɪˈbɹeɪʃən/, contrast /kənˈt(ʃ)ɹæst/, dimension /daɪˈmɛn.ʃən/, leisure /ˈlɛʒə(ɹ)/, pronunciation /pɹəˌnʌn.siˈeɪ.ʃən/
Palabras largas — cuida el acento: continuously /kənˈtɪnjuəsli/, simultaneously /ˌsaɪmlˈteɪnɪəsli/, pronunciation /pɹəˌnʌn.siˈeɪ.ʃən/, essentially /ɪˈsɛnʃəli/, occasionally /əˈkeɪʒənəli/

Sonidos difíciles para hispanohablantes:

s + consonante al inicio — sin añadir una “e” delante: string /stɹɪŋ/, spell /spɛl/, steady /ˈstɪdi/, squiggle /ˈskwɪɡl̩/, specialize /ˈspɛʃəˌlaɪz/
/v/ — no es /b/: los dientes tocan el labio inferior: vibration /vaɪˈbɹeɪʃən/, vocal /ˈvoʊ̯.kəl/, cavity /ˈkæv.ɪt.i/, verb /vɝb/, flavor /ˈfleɪvə/
/z/ — sonora, no /s/: upwards /ˈʌpwɚdz/, afterwards /ˈæf.tɚ.wɚdz/, representation /ˌɹɛp.ɹə.zɛnˈteɪ.ʃən/, pause /pɔːz/, combinations /kɑmbɪˈneɪʃənz/

Cómo practicar con este vídeo

Escucha el vídeo entero una vez sin hablar y anota las palabras que no conoces.
Empieza a velocidad 0,75×, haz shadowing frase por frase y vuelve a la velocidad normal cuando te resulte fácil.
Grábate y compara con el original, prestando atención a palabras como vibration, vocal, symbol.

¿Qué es la Técnica de Shadowing?

Shadowing es una técnica de aprendizaje de idiomas respaldada por la ciencia, desarrollada originalmente para la formación de intérpretes profesionales y popularizada por el políglota Dr. Alexander Arguelles. El método es simple pero poderoso: escuchas audio en inglés nativo y lo repites en voz alta de inmediato, como una sombra que sigue al hablante con solo 1-2 segundos de retraso. A diferencia de la escucha pasiva o los ejercicios de gramática, el shadowing obliga a tu cerebro y músculos de la boca a procesar y reproducir simultáneamente patrones de habla reales. Las investigaciones muestran que mejora significativamente la precisión de la pronunciación, la entonación, el ritmo, el habla conectada, la comprensión auditiva y la fluidez al hablar, convirtiéndola en una de las metodologías más efectivas para la preparación del IELTS Speaking y la comunicación en inglés en el mundo real.

Técnica de shadowing: lee la guía completa paso a paso →

Shadowing Practice: Learn the IPA for English Consonants! - Learn English Speaking with Video

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