Shadowing Practice: Vol 3 - test 10 - section 3 - Learn English Speaking with Video

Part 3.

You will hear part of a discussion between two drama students called Charles and Lorna about a songwriting course.

First, you have some time to look at questions 21 to 25.

Now listen carefully and answer questions 21 to 25.

Hi Charles, I'm writing my report on the songwriting course for drama students.

You know, the one-week residential course for drama students from different universities where you learn about writing songs.

You did that course last year, didn't you?

Could you give me some tips for the report?

I'm having a few problems with it.

Yes, it was great.

Well, Lorna, you could start by thinking about what you got out of it.

Hmm, evaluating how useful it was is simple.

The challenge is not to go over length.

Referring to published sources might help.

That would make it more scholarly, too okay i'll go with that

and saying why you did the songwriting course is important some

people just do it as another string to their bow to help with auditions for work

and things i thought it was a good opportunity to try out new techniques for communicating feelings

and emotions i was already confident about singing before I did it.

I thought it was the location of the course which made it special, being held in a country house rather than in a university.

They were doing some building work on part of the house, though, so it wasn't always easy to concentrate.

I enjoyed the workshop most.

How about you?

Well, we were divided into six small groups for the afternoon, each with their own advisor.

That was the best bit for me, having that discussion with an expert.

When we got into pairs to start writing our songs, the idea was to combine people with different levels of knowledge and experience.

But my partner preferred working on her own generally.

And what did you think of the course content?

I hadn't realised before how important the structure of a song is to its success.

Yes.

We learned it's no use writing the most beautiful words and melodies if there's no shape.

And we learned about the importance of a chorus in a song.

I knew about that stuff from my singing classes.

It's a bit obvious, isn't it?

I suppose so.

It was the input on lyrical styles and forms that I found tedious.

You could always look them up on the web.

Anyway, how did you get on with writing your song?

It was tough, and Peggy, my partner, was hard work,

which wasn't funny, and writing was a slow process as a result of our lack of communication.

By the time we finished, I was exhausted.

Writing music from the heart is like that, especially by the end of a course.

Before you hear the rest of the discussion, you have some time to look at questions 26 to 30.

Now listen and answer questions 26 to 30.

Well, that's got the report sorted, thanks.

Have you decided which teachers' workshops you're going to do next term?

I want to do Bob Lacey's.

He's got a brilliant reputation for voice coaching.

You know, getting us to use dialects and different pronunciation and stuff.

He gets you to do things like weed out a newspaper article in character.

It's amazing.

I'm thinking of going to Evelyn Chance's workshop.

Oh, Evelyn.

She's quite a character.

Is she running the stage fights course again?

Yes, fencing and pretend punches and throwing techniques.

She really knows how to help actors use the whole of the space available.

Lots of people like Ted Winter's workshop.

He knows how to deliver.

He's keen on actors conveying emotion through their bodies and faces alone.

It's a great way to reveal complex relationships and situations to an audience without making a speech of any kind.

I'm definitely going to sign up for that one.

If you want to understand a director's ideas, Kevin Gray's workshop would be perfect for you.

He likes telling people what to do, and he's always saying, you can't have a company of actors reading a play any way they want, because they'd end up fighting amongst themselves.

They must listen to the director.

What about Dorothy Thomas?

She's good at activities for getting rid of stress, and, you know, emptying your mind of all thoughts about the past, and that can really help when acting.

Well, I think I'll put my name down for...

That is the end of Part 3.

You now have 30 seconds to check your answers to Part 3.

Thank you.

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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.

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