Pratique du Shadowing: Listening B2, FCE 1 (2015), Test 2, Part 4 - Apprendre l'anglais à l'oral avec la vidéo

Now turn to part four.

You will hear an interview with a musician called Gerald Harding, who's talking about his career.

For questions 24 to 30, choose the best answer, A, B or C.

You now have one minute to look at part four.

Thank you.

who has come to tell us about how he began his career as a musician.

Hello.

Well, first of all, Gerald, how did your interest in music begin?

My father was a violinist in an orchestra, and from an early age, I would go with him when they were rehearsing for concerts.

I would sit with the violinists and listen.

I learned a lot, and everyone was very kind to me.

I actually composed my first piece of music for the violin when I was six years old.

My father treasured it.

And when did you start playing in public?

When I was around eight years old, my father started playing in a small orchestra at a holiday resort in the summer.

All the family went with him.

It was on the coast, and that way we had a break we couldn't have afforded otherwise.

I sometimes went along to performances, and I played in my first concert there at the age of 11, just for fun.

My mother also played the piano in a hotel in the evenings.

So your mother was a musician too.

Tell us about her.

Sure.

She was an amazing pianist.

She knew all the music she played by heart, everything, and that was after playing it through just a couple of times to get it right.

I learned that from her and that's what I do on the violin too.

Because I don't have to read the notes, I can concentrate on my playing and avoid errors.

And what made you interested in conducting?

From the very start, conductors fascinated me a great deal.

I dreamt of becoming one from the first time I saw an orchestra.

When I listened to recordings at home, I would conduct them, but my father insisted that I become a violinist, and he also taught me.

So that's what I did, but I never gave up my old dream.

You studied music at one of the best colleges.

Did you enjoy it?

I could do the violin playing anyway, of course, which my father had taught me, but then so could everyone else.

And naturally, I perfected my technique at college and broadened the range of music I played.

But some of the others found the discipline and commitment required of us too demanding.

But because of my upbringing, I was used to that.

So what happened when you left college?

Well, just when I was about to start a career as a violinist, I started learning to be a conductor, too.

Even after college, I needed to carry on improving, so I was having private lessons with a professional violinist.

And his wife, although not a professional musician, taught me conducting technique.

She insisted that I took lessons from a teacher she knew who had many well-known conductors as students.

He himself wasn't a well-known conductor, but as an instructor, he was the best and very enthusiastic.

Since then, you've become well-known as both a violinist and a conductor.

Has it been difficult to have both these careers?

On the contrary, I've learned so much from the conductors I've played with as a violin soloist.

Even when one plays the same violin piece often, it's still always different every time.

One can therefore learn a great deal, especially as I have had the good fortune to practically always play under the best conductors in the world.

And I haven't only learned from seeing and hearing them, but I've always taken the time to consult them, to discuss the smallest details with them,

and to continuously improve myself.

Well, unfortunately we've run out of time, but thank you very much.

It's been a great pleasure speaking to you, and the very best of luck in the future.

Thank you.

Now you'll hear part four again.

We are very pleased to welcome the violinist and conductor, Gerald Harding, who has come to tell us about how he began his career as a musician.

Hello.

Well, first of all, Gerald, how did your interest in music begin?

My father was a violinist in an orchestra, and from an early age I would go with him when they were rehearsing for concerts.

I would sit with the violinists and listen.

I learned a lot and everyone was very kind to me.

I actually composed my first piece of music for the violin when I was six years old.

My father treasured it.

And when did you start playing in public?

When I was around eight years old, my father started playing in a small orchestra at a holiday resort in the summer.

All the family went with him.

It was on the coast and that way we had a break we couldn't have afforded otherwise.

I sometimes went along to performances, and I played in my first concert there at the age of 11, just for fun.

My mother also played the piano in a hotel in the evenings.

So your mother was a musician too.

Tell us about her.

Sure.

She was an amazing pianist.

She knew all the music she played by heart, everything.

And that was after playing it through just a couple of times to get it right.

I learned that from her, and that's what I do on the violin, too.

Because I don't have to read the notes, I can concentrate on my playing and avoid errors.

And what made you interested in conducting?

From the very start, conductors fascinated me a great deal.

I dreamt of becoming one from the first time I saw an orchestra.

When I listened to recordings at home, I would conduct them.

But my father insisted that I become a violinist, and he also taught me.

so that's what I did, but I never gave up my old dream.

You studied music at one of the best colleges.

Did you enjoy it?

I could do the violin playing anyway, of course, which my father had taught me, but then so could everyone else.

And naturally, I perfected my technique at college and broadened the range of music I played.

But some of the others found the discipline and commitment required of us too demanding.

But because of my upbringing, I was used to that.

So, what happened when you left college?

Well, just when I was about to start a career as a violinist, I started learning to be a conductor too.

Even after college, I needed to carry on improving, so I was having private lessons with a professional violinist.

And his wife, although not a professional musician, taught me conducting technique.

She insisted that I took lessons from a teacher she knew who had many well-known conductors as students.

He himself wasn't a well-known conductor, but as an instructor, he was the best and very enthusiastic.

Since then, you've become well-known as both a violinist and a conductor.

Has it been difficult to have both these careers?

On the contrary, I've learned so much from the conductors I've played with as a violin soloist.

Even when one plays the same violin piece often, it's still always different every time.

100

One can therefore learn a great deal, especially as I have had the good fortune to practically always play under the best conductors in the world.

101

And I haven't only learned from seeing and hearing them, but I've always taken the time to consult them, to discuss the smallest details with them,

102

and to continuously improve myself.

103

Well, unfortunately we've run out of time, but thank you very much.

104

It's been a great pleasure speaking to you.

105

And the very best of luck in the future.

106

Thank you.

107

That's the end of part four.

108

There will now be a pause of five minutes for you to copy your answers onto the separate answer sheet.

109

Be sure to follow the numbering of all the questions.

110

I shall remind you when there is one minute left so that you're sure to finish in time.

111

It is the end of the test.

112

Please stop now.

113

Your supervisor will now collect all the question papers and answer sheets.

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Vocabulaire et conseils d’expression pour cette leçon

Cette leçon d’expression orale de niveau B2 s’appuie sur la vidéo « Listening B2, FCE 1 (2015), Test 2, Part 4 ». Les mots qui reviennent le plus souvent : conductor, violinist, violin, played, father. Cette vidéo contient 113 phrases et 1406 mots à répéter en shadowing. La partie parlée dure 9:36. Le locuteur parle à un rythme régulier d’environ 147 mots par minute, confortable pour le shadowing. Seuls 80 % des mots font partie des 3 000 mots les plus courants en anglais, le vocabulaire est donc exigeant.

Vocabulaire clé de cette vidéo

Les 15 mots les plus avancés de la vidéo, avec leur prononciation et leur sens :

Mot	Prononciation	Sens
conductor nom	/kənˈdʌktɚ/	chef d'orchestre
violinist nom		violoniste
violin nom	/ˌvaɪ.əˈlɪn/	violon, crincrin
musician nom	/mjuˈzɪʃən/	musicien, musicienne
orchestra nom	/ˈɔː.kɪs.tɹə/	orchestre
insist verbe	/ɪnˈsɪst/	insister
broaden verbe	[ˈbɹɔː.dn̩]	élargir
compose verbe	/kəmˈpəʊz/	composer
fascinate verbe	/ˈfæsɪneɪt/	fasciner
pianist nom	/ˈpi.ənɪst/	pianiste
rehearse verbe	/ɹɪˈhɝs/	rabâcher, ressasser
soloist nom		soliste
upbringing nom	/ˈʌpˌbrɪŋɪŋ/	éducation
enthusiastic adjectif	/ɪnˌθjuːzɪˈæstɪk/	enthousiaste
consult verbe	/ˈkɑnsʌlt/	se concerter

Les verbes à particule que vous entendrez

Mot	Sens
give up verbe	se rendre

Prononciation à surveiller

Le locuteur utilise 20 contractions et formes réduites, comme I've, couldn't, don't. Prononcez-les sous leur forme courte, telles que vous les entendez.

Les sons « sh » et « zh »: musician /mjuˈzɪʃən/, treasure /ˈtɹɛʒəɹ/
Mots longs — placez bien l’accent: enthusiastic /ɪnˌθjuːzɪˈæstɪk/, continuously /kənˈtɪnjuəsli/, practically /ˈpɹæk.tɪ.k(ə.)li/, supervisor /ˈsupɚˌvaɪzɚ/

Les sons difficiles pour les francophones :

/r/ anglais — langue recourbée, sans frotter la gorge: orchestra /ˈɔː.kɪs.tɹə/, broaden [ˈbɹɔː.dn̩], rehearse /ɹɪˈhɝs/, upbringing /ˈʌpˌbrɪŋɪŋ/, instructor /ɪnˈstɹʌktɚ/

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 conductor, violinist, violin.

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.

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Vocabulaire et conseils d’expression pour cette leçon

Vocabulaire clé de cette vidéo

Les verbes à particule que vous entendrez

Prononciation à surveiller

Comment s’entraîner avec cette vidéo

Qu'est-ce que la technique du Shadowing ?