Shadowing Practice: Shadowing is AMAZING!! ๐ŸŒŸ | Learn My British Accent ๐Ÿ‡ฌ๐Ÿ‡ง| ADVANCED ๐Ÿค“ - Learn English Speaking with Video

ื‘ื—ืจ ืžืฆื‘ ืชืจื’ื•ืœ

ื›ืœ ืžืฆื‘ ืคื•ืชื— ื—ื“ืจ ืชืจื’ื•ืœ ื‘ืžืกืš ืžืœื.

138 ืžืฉืคื˜ื™ื
ืื ื”ืžืฉืคื˜ื™ื ืงืฆืจื™ื ืื• ืืจื•ื›ื™ื ืžื“ื™, ืœื—ืฅ ืขืœ ืขืจื•ืš ื›ื“ื™ ืœื”ืชืื™ื ืื•ืชื.
1
Welcome back, or welcome, to English with Catherine.
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Today we've got a lovely technique -based video.
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Kind of a skill that you can practice and get better and better at.
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And that is shadowing.
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I've just been calling it copying, but shadowing is so much more romantic.
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Sounds a lot more beautiful.
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You're going to shadow me and you're going to learn my accent.
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Lucky you.
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Shall we just get to it?
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I think so.
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Let's get started.
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Shadowing is so good for sounding natural.
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If you want to sound a little bit more authentic when you're speaking in English, a little bit more, I guess, native, shadowing is great because you're kind of copying the nuances,
14
the little details in an accent and in pronunciation, which is, as we all know, quite difficult to master.
15
When you're shadowing, what you want to do is try to speak at the same time as me, not after not before because that's impossible, at the same time.
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And by the way, you could do this every day as part of your English practice.
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Find a person that you like the sound of and who has the accent that you want
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Listen to them every day on YouTube!
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That's the beauty of the online world.
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You can usually always find what you're looking for, no matter how weird or wonderful that is.
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The focus is not on grammar, it's not on vocabulary.
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Try not to get distracted by some grammar that you don't know or a word that you've never seen.
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Focus on intonation and all of the features I'm going to tell you about.
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When you're having conversation with someone, they ask you questions.
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Have you ever been to Italy?
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Have you ever seen the Eiffel Tower, for example?
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Have you ever tried caviar.
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And that's when stories come up, right?
29
You might want to tell a story as part of your answer.
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The story that I'm going to tell today is about when Tom and I went to Cornwall.
31
We had the most amazing time and we tried wild garlic.
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So if anyone ever asks me, "Have you ever been to Cornwall?" or "Have you ever tried wild garlic?" This would be my response: Are you ready?
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In May, a couple of years back, Tom and I went down to Cornwall for a little getaway.
34
In May, a couple of years back, Tom and I went down to Cornwall for a little getaway.
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The features.
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I've used a schwa.
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Obviously I've used a schwa.
38
I'm always using schwa.
39
The modern RP accent is full of them.
40
I've used a schwa in 'ay' so I'm not saying 'ay', I'm saying 'uh'.
41
By the way, the sound of the schwa is 'uh' in case you didn't know.
42
I've used one in
43
"to" so I've said "tuh" instead of "too" and I've used one in 'for' so I've said 'fuh' instead of 'for'.
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There's also one in the middle of 'getaway'.
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I'm not saying 'getaway' or 'getaway', I'm saying 'geta'.
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getaway Get away.
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Again, try not to worry about the vocabulary, just focus on the pronunciation.
48
Intonation.
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I have stressed the word Cornwall in this sentence, because Cornwall is the most important word in the sentence, to deliver the meaning to the listener.
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If I didn't stress Cornwall, it might not be as clear and might not be such an efficient way of communicating that.
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I'm going to say it again now and I want you to try
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and copy me and say it at the same time as me, which is called shadowing.
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In May, a couple of years back, Tom and I went down to Cornwall for a little getaway.
54
In May, a couple of years back, Tom and I went down to Cornwall for a little getaway.
55
In May, a couple of years back, Tom and I went down to Cornwall for a little getaway.
56
I'm sure you sound so good.
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We stayed in a little cottage which had a babbling brook running through the garden.
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It also had an old English country kitchen with an aga.
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It was amazing.
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A feature of this part of the story in terms of pronunciation is blunding.
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It's formally known as catenation, which is something I actually only learnt the other day.
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Catenation! or blending is what we do when a word ends with a consonant
63
and then the next word starts with a vowel.
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As you probably know, vowels are A, E, I, O, U.
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We have catenation between 'stayed' and 'in' because 'stayed' ends with a consonant, 'd', and the next word starts with a vowel.
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So we can blend them together instead of having a break.
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This creates a smooth flow when you're speaking.
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We stayed in.
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We stayed in.
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Din.
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Stayed in.
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It also happens between 'had' and 'ay'.
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We're not saying 'had -ay', we're saying 'had -a'.
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Harder An A is a schwa So it's easier to do that, okay?
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So it's 'ha -ja', 'uh' is your schwa sound.
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It's happening throughout this piece of the story, honestly.
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There's so many examples.
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Old English.
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Old English.
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We're blending D to E there.
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Not Old English.
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Not like a robot.
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It's smooth like hot chocolate.
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Old English.
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Shadow me when I say it again.
86
We stayed in a little cottage which had a babbling brook running through the garden.
87
It also had an old English country kitchen with an aga.
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We stayed in a little cottage which had a babbling brook running through the garden.
89
It also had an old English country kitchen with an aga.
90
Here's the next part.
91
On one of the nights of our stay, we foraged for wild garlic in the surrounding fields.
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because there was an abundance of it.
93
Later that day, we made a pasta dish using the wild garlic.
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I hadn't known Tom for very long, so it was a great opportunity for conversation.
95
Contractions.
96
Guys, we use so many of them.
97
If you want to sound more natural, definitely try to use contractions.
98
We've got one here with "hadn't" Hadn't.
99
We're not saying 'had not'.
100
We're saying "hadn't".
101
Another point on intonation.
102
It's so important guys to know which words to stress.
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As I always say, try to stress the words that give the most meaning.
104
Try to imagine the sentence without those words.
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It wouldn't make sense, right?
106
The meaning would not be delivered to the listener.
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In this text, I'm stressing wild garlic because it's the star of the story, okay?
108
It's what I'm mainly talking about here.
109
I'm also stressing the word abundance.
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because it's a word that exaggerates.
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We often stress exaggerating words.
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It just gives drama and sparkle to the story.
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I want you to shadow me now.
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Good luck.
115
On one of the nights of our stay, we foraged for wild garlic in the surrounding fields.
116
because there was an abundance of it.
117
Later that day, we made a pasta dish using the wild garlic.
118
I hadn't known Tom for very long, so it was a great opportunity for conversation.
119
one more time.
120
On one of the nights of our stay, we foraged for wild garlic in the surrounding fields.
121
because there was an abundance of it.
122
Later that day, we made a pasta dish using the wild garlic.
123
I hadn't known Tom for very long, so it was a great opportunity for conversation.
124
What you can do now, everyone, is rewind and just listen again.
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Just keep shadowing me until you feel that you've got the essence of how I sound
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Of course you don't want to sound exactly like me.
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You have to inject your own personality into that.
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Your own charm and your own sparkle.
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Because how you speak is what makes you unique.
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I hope you enjoyed that, I definitely did.
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Storytelling is so important when you're having conversations.
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How to tell a story.
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It's really for advanced level students who reach a point where they're communicating quite regularly with people who are asking them questions, and they want to tell a good story.
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Good luck with all your shadowing everyone.
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I'm sure you sound so so beautiful.
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I'm gonna see you really soon, I'm gonna see you next Saturday.
137
Have the loveliest most amazing weekend.
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Bye!

ื”ื•ืจื“ ืืคืœื™ืงืฆื™ื”

ื›ืœ ืžื” ืฉืืชื” ืฆืจื™ืš ื›ื“ื™ ืœื“ื‘ืจ ื‘ืฉื˜ืฃ

ื”ื’ื™ื™ืช AIืฆื™ื•ืŸ ืœื›ืœ ืžืฉืคื˜
ืชืจื’ื•ืœ IPAืฉืœื•ื˜ ื‘ื›ืœ ืฆืœื™ืœ
ืื•ืฆืจ ืžื™ืœื™ืื‘ื ื” ืืช ืžืื’ืจ ื”ืžื™ืœื™ื ืฉืœืš
ืžืฉื—ืง ืื•ืฆืจ ืžื™ืœื™ืืœืžื“ ืชื•ืš ื›ื“ื™ ืžืฉื—ืง
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ืื•ืฆืจ ืžื™ืœื™ื ื•ื”ืขืจื•ืช ื”ื’ื™ื™ื” ืœืฉื™ืขื•ืจ ื”ื–ื”

ืฉื™ืขื•ืจ ื”ื“ื™ื‘ื•ืจ ื”ื–ื” ื‘ืจืžื” C1 ืžื‘ื•ืกืก ืขืœ ื”ืกืจื˜ื•ืŸ โ€œShadowing is AMAZING!! ๐ŸŒŸโ€. ื”ืžื™ืœื™ื ืฉื—ื•ื–ืจื•ืช ื”ื›ื™ ื”ืจื‘ื”: word, Cornwall, sound, English, getaway. ื‘ืกืจื˜ื•ืŸ ื”ื–ื” ื™ืฉ 138 ืžืฉืคื˜ื™ื ื•-1385 ืžื™ืœื™ื ืœืชืจื’ื•ืœ Shadowing. ื”ื“ื™ื‘ื•ืจ ื ืžืฉืš 8:02. ื”ื“ื•ื‘ืจ ืžื“ื‘ืจ ื‘ืงืฆื‘ ื˜ื‘ืขื™ ืฉืœ ื›-172 ืžื™ืœื™ื ื‘ื“ืงื”, ืงืจื•ื‘ ืœืฉื™ื—ื” ื™ื•ืžื™ื•ืžื™ืช. ืจืง 81% ืžื”ืžื™ืœื™ื ื ืžืฆืื•ืช ื‘ื™ืŸ 3,000 ื”ืžื™ืœื™ื ื”ื ืคื•ืฆื•ืช ื‘ื™ื•ืชืจ ื‘ืื ื’ืœื™ืช, ื›ืš ืฉืื•ืฆืจ ื”ืžื™ืœื™ื ืžืืชื’ืจ.

ืื•ืฆืจ ืžื™ืœื™ื ืžืจื›ื–ื™ ื‘ืกืจื˜ื•ืŸ ื”ื–ื”

15 ื”ืžื™ืœื™ื ื”ืžืชืงื“ืžื•ืช ื‘ื™ื•ืชืจ ื‘ืกืจื˜ื•ืŸ, ืขื ื”ื”ื’ื™ื™ื” ื•ื”ืžืฉืžืขื•ืช ืฉืœื”ืŸ:

ืžื™ืœื”ื”ื’ื™ื™ื”ืžืฉืžืขื•ืช
garlic ืฉื ืขืฆื/หˆษกษ‘ษนlษชk/ืฉืื•ึผื
abundance ืฉื ืขืฆื/ษ™หˆbสŒn.dnฬฉs/ืฉืคืข
distress ืฉื ืขืฆื/dษชหˆstษนษ›s/ืžื•ึผืขึธืงึธื”
forage ืฉื ืขืฆื/หˆfoษนษชdอกส’/ืžืกืคื•ื
intonation ืฉื ืขืฆื/ษชntษ™หˆneษชสƒษ™n/ืื™ื ื˜ื•ื ืฆื™ื”
vowel ืฉื ืขืฆื/หˆvaสŠ.ษ™l/ืชึฐึผื ื•ึผืขึธื”
pronunciation ืฉื ืขืฆื/pษนษ™หŒnสŒn.siหˆeษช.สƒษ™n/ื”ึฒื’ึดื™ึธึผื”, ื‘ึดึผื˜ึผื•ึผื™
brook ืฉื ืขืฆื/bษนสŠk/ืคึถึผืœึถื’
pasta ืฉื ืขืฆื/หˆpษ‘.stษ™/ืคึทึผืกึฐื˜ึธื”
consonant ืฉื ืขืฆื/หˆkษ‘n.sษ™.nษ™nt/ืขื™ืฆื•ืจ \ ืขึดืฆึผื•ึผืจ
contraction ืฉื ืขืฆื/kษ™nหˆtษนรฆkสƒ(ษ™)n/ื”ืชื›ื•ื•ืฆื•ืช
exaggerate ืคื•ืขืœ/ษ›ษกหˆzรฆdอกส’.ษ™.ษนeษชt/ื”ื’ื–ื™ื
listener ืฉื ืขืฆื/หˆlษชs(ษ™)nษš/ืžึทืึฒื–ึดื™ืŸ
vocabulary ืฉื ืขืฆื/vษ™หˆkรฆb.jษ™.lษ™.ษนi/ืื•ึนืฆึทืจ ืžึดืœึดึผื™ื
distract ืคื•ืขืœ/dษชหˆstษนรฆkt/ื”ืกื™ื— ืืช ื”ื“ืขืช

ืžืฉืคื˜ื™ื ืฉื›ื“ืื™ ืœื—ื–ื•ืจ ืขืœื™ื”ื

ืžืฉืคื˜ื™ื ืงืฆืจื™ื ื•ืฉืœืžื™ื ืžื”ืกืจื˜ื•ืŸ ืฉืืคืฉืจ ืœื”ืฉืชืžืฉ ื‘ื”ื ื‘ืฉื™ื—ื” ื™ื•ืžื™ื•ืžื™ืช:

  • Today we've got a lovely technique -based video.
  • Shall we just get to it?
  • Obviously I've used a schwa.
  • I'm not saying 'getaway' or 'getaway', I'm saying 'geta'.
  • I'm sure you sound so good.

ื“ืงื“ื•ืง ื‘ืกืจื˜ื•ืŸ ื”ื–ื”

ื”ืžื‘ื ื™ื ืฉื”ื“ื•ื‘ืจ ืžืฉืชืžืฉ ื‘ื”ื ื”ื›ื™ ื”ืจื‘ื”, ืขื ื”ืžื™ืœื™ื ื”ืžื“ื•ื™ืงื•ืช ืžื”ืกืจื˜ื•ืŸ:

ืžื‘ื ื”ื‘ืกืจื˜ื•ืŸ
ื”ื•ื•ื” ืžื•ืฉืœื (Present perfect) have/has + past participle โ€” ืคืขื•ืœื” ืฉืงืจืชื” ื‘ืขื‘ืจ ื•ืขื“ื™ื™ืŸ ื™ืฉ ืœื” ื—ืฉื™ื‘ื•ืช ืื• ื”ืฉืคืขื” ืขื›ืฉื™ื•you've never seen ยท Have you ever been ยท Have you ever seen
ืžืฉืคื˜ื™ ื–ื™ืงื” (Relative clauses) who / which + clause โ€” ืžื™ื“ืข ื ื•ืกืฃ ืขืœ ืื“ื ืื• ื“ื‘ืจpronunciation, which is ยท catenation, which is ยท students who reach
ืกื‘ื™ืœ (Passive voice) be + past participle โ€” ื”ื“ื’ืฉ ื”ื•ื ืขืœ ืžื” ืฉืงื•ืจื”, ืœื ืขืœ ืžื™ ืฉืขื•ืฉื” ืืช ื”ืคืขื•ืœื”is called ยท would not be delivered

ื”ื’ื™ื™ื” ืฉืฉื•ื•ื” ืœืฉื™ื ืœื‘ ืืœื™ื”

ื”ื“ื•ื‘ืจ ืžืฉืชืžืฉ ื‘-55 ืงื™ืฆื•ืจื™ื ื•ืฆื•ืจื•ืช ืžืงื•ืฆืจื•ืช, ื›ืžื• I'm, you're, I've. ืืžืจื• ืื•ืชื ื‘ืฆื•ืจื” ื”ืงืฆืจื”, ื›ืคื™ ืฉืืชื ืฉื•ืžืขื™ื ืื•ืชื.

  • ื”ืฆืœื™ืœื™ื ืฉืœ โ€œshโ€ ื•-โ€œzhโ€: schwa /สƒwษ‘/, intonation /ษชntษ™หˆneษชสƒษ™n/, pronunciation /pษนษ™หŒnสŒn.siหˆeษช.สƒษ™n/, contraction /kษ™nหˆtษนรฆkสƒ(ษ™)n/
  • ืžื™ืœื™ื ืืจื•ื›ื•ืช โ€” ืฉื™ืžื• ืœื‘ ืœื”ื˜ืขืžื”: intonation /ษชntษ™หˆneษชสƒษ™n/, pronunciation /pษนษ™หŒnสŒn.siหˆeษช.สƒษ™n/, exaggerate /ษ›ษกหˆzรฆdอกส’.ษ™.ษนeษชt/, vocabulary /vษ™หˆkรฆb.jษ™.lษ™.ษนi/

ืฆืœื™ืœื™ื ืฉื“ื•ื‘ืจื™ ืขื‘ืจื™ืช ืžืชืงืฉื™ื ื‘ื”ื:

  • /w/ โ€” ืฉืคืชื™ื™ื ืžืขื•ื’ืœื•ืช, ืœื /v/: schwa /สƒwษ‘/, rewind /ษนiหหˆwaษชnd/
  • /รฆ/ โ€” ืคืชื•ื— ื™ื•ืชืจ ืžื”-โ€œืึถโ€ ื”ืขื‘ืจื™ืช, ืœื ื›ืžื• โ€œaโ€ ื‘-โ€œcupโ€: babble /หˆbรฆb.(ษ™)l/, contraction /kษ™nหˆtษนรฆkสƒ(ษ™)n/, exaggerate /ษ›ษกหˆzรฆdอกส’.ษ™.ษนeษชt/, vocabulary /vษ™หˆkรฆb.jษ™.lษ™.ษนi/, caviar /หˆkรฆv.iหŒษ‘ษน/
  • /r/ โ€” ื”ืœืฉื•ืŸ ืœื ื ื•ื’ืขืช ื‘ืฉื•ื ืžืงื•ื, ืœื ื”-โ€œืจโ€ ื”ื’ืจื•ื ื™ืช: garlic /หˆษกษ‘ษนlษชk/, distress /dษชหˆstษนษ›s/, forage /หˆfoษนษชdอกส’/, pronunciation /pษนษ™หŒnสŒn.siหˆeษช.สƒษ™n/, brook /bษนสŠk/

ืื™ืš ืœืชืจื’ืœ ืขื ื”ืกืจื˜ื•ืŸ ื”ื–ื”

  1. ื”ืงืฉื™ื‘ื• ืœื›ืœ ื”ืกืจื˜ื•ืŸ ืคืขื ืื—ืช ื‘ืœื™ ืœื“ื‘ืจ, ื•ืจืฉืžื• ืืช ื”ืžื™ืœื™ื ืฉืืชื ืœื ืžื›ื™ืจื™ื.
  2. ื”ืชื—ื™ืœื• ื‘ืžื”ื™ืจื•ืช 0.75ร—, ืชืจื’ืœื• Shadowing ืžืฉืคื˜ ืื—ืจ ืžืฉืคื˜, ื•ื—ื–ืจื• ืœืžื”ื™ืจื•ืช ืจื’ื™ืœื” ื›ืฉื–ื” ืžืจื’ื™ืฉ ืงืœ.
  3. ื”ืงืœื™ื˜ื• ืืช ืขืฆืžื›ื ื•ื”ืฉื•ื• ืœืžืงื•ืจ, ืชื•ืš ืชืฉื•ืžืช ืœื‘ ืœืžื™ืœื™ื ื›ืžื• garlic, abundance, distress.

ืžื”ื™ ื˜ื›ื ื™ืงืช ื”ืฉืื“ื•ืื™ื ื’?

ืฉืื“ื•ืื™ื ื’ ื”ื™ื ื˜ื›ื ื™ืงืช ืœืžื™ื“ืช ืฉืคื” ืžื‘ื•ืกืกืช ืžื“ืข ืฉืคื•ืชื—ื” ื‘ืžืงื•ืจ ืœื”ื›ืฉืจืช ืžืชื•ืจื’ืžื ื™ื ืžืงืฆื•ืขื™ื™ื ื•ืคื•ืคื•ืœืจื™ืช ืขืœ ื™ื“ื™ ื”ืคื•ืœื™ื’ืœื•ื˜ ื“"ืจ ืืœื›ืกื ื“ืจ ืืจื’ื•ืืœืก. ื”ืฉื™ื˜ื” ืคืฉื•ื˜ื” ืืš ืขื•ืฆืžืชื™ืช: ืืชื” ืžืงืฉื™ื‘ ืœืื•ื“ื™ื• ื‘ืื ื’ืœื™ืช ื™ืœื™ื“ื™ืช ื•ื—ื•ื–ืจ ืขืœื™ื• ื‘ืงื•ืœ ืจื ืžื™ื“ โ€” ื›ืžื• ืฆืœ ื”ืขื•ืงื‘ ืื—ืจื™ ื”ื“ื•ื‘ืจ ืขื ืขื™ื›ื•ื‘ ืฉืœ 1โ€“2 ืฉื ื™ื•ืช ื‘ืœื‘ื“. ื‘ื ื™ื’ื•ื“ ืœื”ืื–ื ื” ืคืกื™ื‘ื™ืช ืื• ืชืจื’ื™ืœื™ ื“ืงื“ื•ืง, ืฉืื“ื•ืื™ื ื’ ืžื›ืจื™ื— ืืช ื”ืžื•ื— ื•ื”ืฉืจื™ืจื™ื ื‘ืคื” ืœืขื‘ื“ ื•ืœืฉื—ื–ืจ ื“ืคื•ืกื™ ื“ื™ื‘ื•ืจ ืืžื™ืชื™ื™ื ื‘ื• ื–ืžื ื™ืช. ืžื—ืงืจื™ื ืžืจืื™ื ืฉื–ื” ืžืฉืคืจ ืžืฉืžืขื•ืชื™ืช ืืช ื“ื™ื•ืง ื”ื”ื’ื™ื™ื”, ื”ืื™ื ื˜ื•ื ืฆื™ื”, ื”ืงืฆื‘, ื”ื“ื™ื‘ื•ืจ ื”ืžื—ื•ื‘ืจ, ื”ื‘ื ืช ื”ืฉืžื™ืขื” ื•ืฉื˜ืฃ ื”ื“ื™ื‘ื•ืจ โ€” ืžื” ืฉื”ื•ืคืš ืื•ืชื• ืœืื—ืช ื”ืฉื™ื˜ื•ืช ื”ื™ืขื™ืœื•ืช ื‘ื™ื•ืชืจ ืœื”ื›ื ื” ืœIELTS Speaking ื•ืœืชืงืฉื•ืจืช ื‘ืื ื’ืœื™ืช ื‘ืขื•ืœื ื”ืืžื™ืชื™.

ื˜ื›ื ื™ืงืช Shadowing: ืงืจื ืืช ื”ืžื“ืจื™ืš ื”ืžืœื ืฉืœื‘ ืื—ืจ ืฉืœื‘ โ†’