Pratica di Shadowing: Andrew Ford talks about The Waltz Book, part 1 - Impara a parlare inglese con i video

Scegli una modalità di pratica

Ogni modalità apre una sala di pratica a schermo intero.

56 frasi

Se le frasi sono troppo corte o troppo lunghe, clicca su Edit per modificarle.

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.

Scarica l'app

Tutto ciò che serve per parlare fluentemente

Pronuncia con IAVoto per ogni frase

Pratica IPAPadroneggia ogni suono

VocabolarioCostruisci il tuo lessico

Gioco di vocabolarioImpara giocando

Scansiona QR

Download on theApp Store Get it onGoogle Play

FOR YOU

Video consigliato

68 frasi

Pablo Torre Has a Pulitzer, but Still Feels Like the “Turd” in the Pool | The New Yorker Radio Hour

Business EnglishDaily ConversationUniversity Students

84 frasi

Listening Test 1. Part 3: Jess and Tom art project.

Daily ConversationUniversity Students

31 frasi

Making Love Out of Nothing At All

Daily ConversationUniversity StudentsWorking Adults

296 frasi

FIRST EVER! WoodyFM on Stage with Jackson Wang เปิดตัวตน เป้าหมายชีวิต และความรัก [ซับไทย]

Business EnglishDaily ConversationUniversity Students

Vocabolario e note di pronuncia per questa lezione

Questa lezione di conversazione si basa sul video “Andrew Ford talks about The Waltz Book, part 1”. Le parole che ritornano più spesso: piece, waltzes, waltz, writing, tile. Questo video contiene 56 frasi e 774 parole da ripetere con lo shadowing. Il parlato dura 5:50. Chi parla mantiene un ritmo costante di circa 133 parole al minuto, comodo per lo shadowing. Il 86% delle parole rientra nelle 3.000 più comuni dell’inglese; conviene studiare le altre prima di iniziare.

Vocaboli chiave di questo video

15 parole del video che vale la pena imparare, con pronuncia e significato:

Parola	Pronuncia	Significato
tile sostantivo	/ˈtaɪ.əl/	piastrella, mattonella
slot sostantivo	/slɑt/	fessura, scanalatura
mosaic sostantivo	/moʊˈzeɪ.ɪk/	mosaico
chart sostantivo	/t͡ʃɑɹt/	carta, carta nautica
occur verbo	/əˈkɜː/	verificarsi
select verbo	/sɪˈlɛkt/	scegliere, selezionare
experiment sostantivo	/ɪkˈspɛɹ.ə.mənt/	esperimento
spare aggettivo	/spɛɚ/	superfluo, ulteriore
differently avverbio	/ˈdɪf.ə.ɹənt.li/	differentemente, diversamente
attract verbo	/əˈtɹækt/	attirare
depend verbo	/dɪˈpɛnd/	dipendere
notion sostantivo	/ˈnoʊʃən/	nozione, concetto
pause sostantivo	/pɔːz/	pausa
intricate aggettivo	/ˈɪn.tɹɪ.kət/	intricato
waltz sostantivo	/wɔlts/	valzer

I phrasal verb che sentirai

Parola	Pronuncia	Significato
come back verbo		tornare
draw up verbo		stilare, stendere
make up verbo	/ˌmeɪk ˈʌp/	comporsi

Pronuncia a cui fare attenzione

Chi parla usa 10 contrazioni e forme ridotte, come you've, I'd, don't. Pronunciale nella forma breve, così come le senti.

I suoni “sh” e “zh”: notion /ˈnoʊʃən/, speculation /ˌspɛk.jəˈleɪ.ʃən/
Parole lunghe — attenzione all’accento: experiment /ɪkˈspɛɹ.ə.mənt/, differently /ˈdɪf.ə.ɹənt.li/, speculation /ˌspɛk.jəˈleɪ.ʃən/

I suoni difficili per chi parla italiano:

Consonante finale — senza aggiungere una vocale dopo: slot /slɑt/, mosaic /moʊˈzeɪ.ɪk/, chart /t͡ʃɑɹt/, select /sɪˈlɛkt/, experiment /ɪkˈspɛɹ.ə.mənt/

Come esercitarsi con questo video

Ascolta tutto il video una volta senza parlare e annota le parole che non conosci.
Fai shadowing frase per frase a velocità normale, ripetendo ognuna finché il tuo ritmo coincide con quello di chi parla.
Registrati e confronta con l’originale, facendo attenzione a parole come tile, slot, mosaic.

Cos'è la tecnica dello Shadowing?

Shadowing è una tecnica di apprendimento delle lingue supportata da studi scientifici, originariamente sviluppata per la formazione dei traduttori professionisti e resa popolare dal poliglotta Dr. Alexander Arguelles. Il metodo è semplice ma potente: ascolti un audio in inglese di madrelingua e lo ripeti immediatamente ad alta voce — come un'ombra che segue il parlante con un ritardo di solo 1–2 secondi. A differenza dell'ascolto passivo o degli esercizi di grammatica, lo shadowing costringe il tuo cervello e i muscoli della bocca a elaborare e riprodurre simultaneamente i modelli di discorso reale. La ricerca dimostra che migliora significativamente la precisione della pronuncia, l'intonazione, il ritmo, il discorso connesso, la comprensione dell'ascolto e la fluidità del parlato — rendendolo uno dei metodi più efficaci per la preparazione alla prova di speaking dell'IELTS e per la comunicazione reale in inglese.

Tecnica dello shadowing: leggi la guida completa passo dopo passo →

Pratica di Shadowing: Andrew Ford talks about The Waltz Book, part 1 - Impara a parlare inglese con i video

Scegli una modalità di pratica

Scarica l'app

Lesson Eight: Placement of the Orchestra, Leonard Slatkin's Conducting School

Working with Short Dreams and Fragments

Art Direction Techniques You Can Use

【三日免費】(10/24) The Music of the Night 夜之樂章

Barenboim on the Limitations of the Piano

Piano Reduction to Full Orchestra | Orchestral Punches Pro Arranger Technique

Bobby Fischer On Being A Chess Champion | The Dick Cavett Show

How do elite performers automate their habits? | Wendy Wood