Pratique du Shadowing: Andrew Ford talks about The Waltz Book, part 1 - Apprendre l'anglais à l'oral avec la vidéo

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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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Vocabulaire et conseils d’expression pour cette leçon

Cette leçon d’expression orale s’appuie sur la vidéo « Andrew Ford talks about The Waltz Book, part 1 ». Les mots qui reviennent le plus souvent : piece, waltzes, waltz, writing, tile. Cette vidéo contient 56 phrases et 774 mots à répéter en shadowing. La partie parlée dure 5:50. Le locuteur parle à un rythme régulier d’environ 133 mots par minute, confortable pour le shadowing. 86 % des mots font partie des 3 000 mots les plus courants en anglais ; le reste mérite d’être vu avant de commencer.

Vocabulaire clé de cette vidéo

15 mots de la vidéo à retenir, avec leur prononciation et leur sens :

Mot	Prononciation	Sens
tile nom	/ˈtaɪ.əl/	carreau (de carrelage), tuile
slot nom	/slɑt/	emplacement, fente
mosaic nom	/moʊˈzeɪ.ɪk/	mosaïque
chart nom	/t͡ʃɑɹt/	carte
occur verbe	/əˈkɜː/	se produire, avoir lieu
select verbe	/sɪˈlɛkt/	choisir, sélectionner
experiment nom	/ɪkˈspɛɹ.ə.mənt/	expérience
partly adverbe	/ˈpɑɹtli/	en partie
spare adjectif	/spɛɚ/	rechange
differently adverbe	/ˈdɪf.ə.ɹənt.li/	différemment
attract verbe	/əˈtɹækt/	attirer
depend verbe	/dɪˈpɛnd/	dépendre
notion nom	/ˈnoʊʃən/	notion
pause nom	/pɔːz/	pause
speculation nom	/ˌspɛk.jəˈleɪ.ʃən/	spéculation

Les verbes à particule que vous entendrez

Mot	Prononciation	Sens
come back verbe		revenir
make up verbe	/ˌmeɪk ˈʌp/	constituer, composer

Prononciation à surveiller

Le locuteur utilise 10 contractions et formes réduites, comme you've, I'd, don't. Prononcez-les sous leur forme courte, telles que vous les entendez.

Les sons « sh » et « zh »: notion /ˈnoʊʃən/, speculation /ˌspɛk.jəˈleɪ.ʃən/
Mots longs — placez bien l’accent: experiment /ɪkˈspɛɹ.ə.mənt/, differently /ˈdɪf.ə.ɹənt.li/, speculation /ˌspɛk.jəˈleɪ.ʃən/

Les sons difficiles pour les francophones :

/r/ anglais — langue recourbée, sans frotter la gorge: chart /t͡ʃɑɹt/, experiment /ɪkˈspɛɹ.ə.mənt/, partly /ˈpɑɹtli/, differently /ˈdɪf.ə.ɹənt.li/, attract /əˈtɹækt/

Comment s’entraîner avec cette vidéo

Écoutez la vidéo en entier une fois sans parler et notez les mots que vous ne connaissez pas.
Répétez phrase par phrase à vitesse normale, en reprenant chacune jusqu’à ce que votre rythme corresponde à celui du locuteur.
Enregistrez-vous et comparez avec l’original, en faisant attention à des mots comme tile, slot, mosaic.

Qu'est-ce que la technique du Shadowing ?

Le Shadowing est une technique d'apprentissage des langues fondée sur la science, développée à l'origine pour la formation des interprètes professionnels. Le principe est simple mais puissant : vous écoutez de l'anglais natif et le répétez immédiatement à voix haute — comme une ombre suivant le locuteur avec un décalage de 1 à 2 secondes. Les recherches montrent une amélioration significative de la précision de la prononciation, de l'intonation, du rythme, des liaisons, de la compréhension orale et de la fluidité.

Technique du shadowing : lire le guide complet étape par étape →