Pratica di Shadowing: Listening B2, FCE 1 (2015), Test 2, Part 4 - Impara a parlare inglese con i video
Creazione lezione...
1
Now turn to part four.
2
You will hear an interview with a musician called Gerald Harding, who's talking about his career.
3
For questions 24 to 30, choose the best answer, A, B or C.
4
You now have one minute to look at part four.
5
Thank you.
6
Thank you.
7
who has come to tell us about how he began his career as a musician.
8
Hello.
9
Well, first of all, Gerald, how did your interest in music begin?
10
My father was a violinist in an orchestra, and from an early age, I would go with him when they were rehearsing for concerts.
11
I would sit with the violinists and listen.
12
I learned a lot, and everyone was very kind to me.
13
I actually composed my first piece of music for the violin when I was six years old.
14
My father treasured it.
15
And when did you start playing in public?
16
When I was around eight years old, my father started playing in a small orchestra at a holiday resort in the summer.
17
All the family went with him.
18
It was on the coast, and that way we had a break we couldn't have afforded otherwise.
19
I sometimes went along to performances, and I played in my first concert there at the age of 11, just for fun.
20
My mother also played the piano in a hotel in the evenings.
21
So your mother was a musician too.
22
Tell us about her.
23
Sure.
24
She was an amazing pianist.
25
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.
26
I learned that from her and that's what I do on the violin too.
27
Because I don't have to read the notes, I can concentrate on my playing and avoid errors.
28
And what made you interested in conducting?
29
From the very start, conductors fascinated me a great deal.
30
I dreamt of becoming one from the first time I saw an orchestra.
31
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.
32
So that's what I did, but I never gave up my old dream.
33
You studied music at one of the best colleges.
34
Did you enjoy it?
35
I could do the violin playing anyway, of course, which my father had taught me, but then so could everyone else.
36
And naturally, I perfected my technique at college and broadened the range of music I played.
37
But some of the others found the discipline and commitment required of us too demanding.
38
But because of my upbringing, I was used to that.
39
So what happened when you left college?
40
Well, just when I was about to start a career as a violinist, I started learning to be a conductor, too.
41
Even after college, I needed to carry on improving, so I was having private lessons with a professional violinist.
42
And his wife, although not a professional musician, taught me conducting technique.
43
She insisted that I took lessons from a teacher she knew who had many well-known conductors as students.
44
He himself wasn't a well-known conductor, but as an instructor, he was the best and very enthusiastic.
45
Since then, you've become well-known as both a violinist and a conductor.
46
Has it been difficult to have both these careers?
47
On the contrary, I've learned so much from the conductors I've played with as a violin soloist.
48
Even when one plays the same violin piece often, it's still always different every time.
49
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.
50
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,
51
and to continuously improve myself.
52
Well, unfortunately we've run out of time, but thank you very much.
53
It's been a great pleasure speaking to you, and the very best of luck in the future.
54
Thank you.
55
Now you'll hear part four again.
56
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.
57
Hello.
58
Well, first of all, Gerald, how did your interest in music begin?
59
My father was a violinist in an orchestra, and from an early age I would go with him when they were rehearsing for concerts.
60
I would sit with the violinists and listen.
61
I learned a lot and everyone was very kind to me.
62
I actually composed my first piece of music for the violin when I was six years old.
63
My father treasured it.
64
And when did you start playing in public?
65
When I was around eight years old, my father started playing in a small orchestra at a holiday resort in the summer.
66
All the family went with him.
67
It was on the coast and that way we had a break we couldn't have afforded otherwise.
68
I sometimes went along to performances, and I played in my first concert there at the age of 11, just for fun.
69
My mother also played the piano in a hotel in the evenings.
70
So your mother was a musician too.
71
Tell us about her.
72
Sure.
73
She was an amazing pianist.
74
She knew all the music she played by heart, everything.
75
And that was after playing it through just a couple of times to get it right.
76
I learned that from her, and that's what I do on the violin, too.
77
Because I don't have to read the notes, I can concentrate on my playing and avoid errors.
78
And what made you interested in conducting?
79
From the very start, conductors fascinated me a great deal.
80
I dreamt of becoming one from the first time I saw an orchestra.
81
When I listened to recordings at home, I would conduct them.
82
But my father insisted that I become a violinist, and he also taught me.
83
so that's what I did, but I never gave up my old dream.
84
You studied music at one of the best colleges.
85
Did you enjoy it?
86
I could do the violin playing anyway, of course, which my father had taught me, but then so could everyone else.
87
And naturally, I perfected my technique at college and broadened the range of music I played.
88
But some of the others found the discipline and commitment required of us too demanding.
89
But because of my upbringing, I was used to that.
90
So, what happened when you left college?
91
Well, just when I was about to start a career as a violinist, I started learning to be a conductor too.
92
Even after college, I needed to carry on improving, so I was having private lessons with a professional violinist.
93
And his wife, although not a professional musician, taught me conducting technique.
94
She insisted that I took lessons from a teacher she knew who had many well-known conductors as students.
95
He himself wasn't a well-known conductor, but as an instructor, he was the best and very enthusiastic.
96
Since then, you've become well-known as both a violinist and a conductor.
97
Has it been difficult to have both these careers?
98
On the contrary, I've learned so much from the conductors I've played with as a violin soloist.
99
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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Perché esercitarti a parlare con questo video?
Questo video è una vera gemma per chi vuole migliorare la pratica di conversazione in inglese a livello B2. L'intervista con il musicista Gerald Harding offre un contesto reale, con una lingua spontanea e argomenti interessanti che stimolano la comprensione e la riproduzione. Grazie alla sua struttura narrativa, puoi esercitare il shadow speech (o shadow speak), una tecnica efficace per imitare l'intonazione, il ritmo e la pronuncia. Ogni frase è un'opportunità per acquisire confidenza: ascolta, ripeti immediatamente e nota come i suoni si fondano nel contesto. I risultati sono veloci: in poche sessioni, noterai un miglioramento nella fluidità e nella naturalezza del tuo inglese!
Grammatica e espressioni in contesto
Analizziamo alcuni punti chiave del dialogo per rafforzare la tua competenza:
- "I would go with him when they were rehearsing": L'uso di would per descrivere abitudini passate, una struttura essenziale per narrare storie personali. Diversa da used to, would si usa con azioni ripetute in un contesto specifico.
- "I learned that from her and that's what I do": La clausola what I do per riassumere un'azione, utile per connettere idee in modo chiaro. Ideale per le conversazioni dove devi spiegare le tue abitudini o metodi.
- "On the contrary, I've learned so much": On the contrary è una frase connettiva potente per contraddire un'ipotesi, spesso usata in discussioni o interviste. Aiuta a creare un discorso più dinamico.
Trappole di pronuncia comuni
Nel video, alcuni suoni possono creare difficoltà: ecco come affrontarli:
- "violinist": La pronuncia corretta è /ˌvaɪəˈlɪnɪst/, con l'accento sulla seconda sillaba. Evita di mettere l'accento sulla prima, come spesso succede agli italiani.
- "rehearsing": La "h" è silenziosa, e la "s" finale ha un suono dolce (/rɪˈhɜːrsɪŋ/). Concentrati sul ritmo: due sillabe forti, "re" e "sing".
- "conductor": La "c" iniziale ha un suono duro (/kənˈdʌktər/), non come in "casa". Ricorda che in inglese, "c" prima di "o" o "u" è spesso /k/.
Con il shadowspeaks, ripeti queste parole insieme al video: la ripetizione aiutà il tuo cervello a memorizzare i suoni corretti. Non ti preoccupare di sbagliare: ogni errore è un passo verso la perfezione!
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.