Pratica di Shadowing: Write every day, even if it’s terrible | Think Like A Musician - Impara a parlare inglese con YouTube

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One of my classmates, he was able to get me a meeting with the big boss— Lyor Cohen.
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One of my classmates, he was able to get me a meeting with the big boss— Lyor Cohen.
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I took a Megabus from D.C. to New York.
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We sit down and I played him a verse chorus of one song.
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And then I started to play the beginning of a second song, and he cut me off, and he was like, “why am I here?” And I was like, “to hear my music?” He was like, “no, I mean, this is a waste of my time. You’re not ready yet.” And he got up and he left the meeting.
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I got literally two minutes with him and it was over.
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Hey, you! Yes, you. Is there music inside of you?
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We’ve recruited working musicians from throughout the industry to help you hear it, hold it, and share it with this wild and wonderful world.
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Hi, my name is Daniel Breland.
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I professionally go by Breland.
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I am a singer, songwriter, and producer originally from New Jersey.
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I live in Nashville and the genres that I usually play in are country music, R&B, hip hop, gospel.
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That day with Lyor Cohen, I got back on the Megabus and went back to D.C., and I was devastated for a good week because I was like, I’m 19, I’ve been making music for five years, I got a meeting with the guy that’s supposed to be The Guy, and he said it wasn’t it, you know?
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And so I’m just trying to figure out what my next steps should be.
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I decided to double down and I ended up buying some equipment.
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And I was like, look, I’m going to write and record a song every day until I get better.
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And so from from that day, in October of 2014, for the next year, I wrote and recorded a good 365 songs.
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And the following year, the songs had definitely gotten marginally better.
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And so I said, okay, well, this next year, now my junior year, I said I’m going to write and record two songs a day.
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Now, at this point, I’m pretty much barely going to class.
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Now I've got two songs a day.
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So now halfway into that second year, I've got 700 plus songs and nobody to really listen to any of them.
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And so I started reaching out, kind of cold-calling people in the industry— songwriters, producers, managers, A&Rs, artists, friends.
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I mean, they received an email, a DM, a tweet.
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I might have written a couple handwritten letters if there was an address to a record label.
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And literally just trying to reach out to as many people I could to see if I could get any feedback.
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Really, that was the year that I made the biggest jump, because I started getting feedback where I was like, okay, cool— there are people in the industry that have given me some insight on how songs are actually written and where I’m falling short.
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Writer’s block is real.
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You know, inspiration can strike at any moment, but you can also lose inspiration on something in any moment.
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And I think that’s okay.
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Because I’ve written so many songs, and because I was so dedicated for all of those years that I was writing songs every day, and no one was hearing any of them, I understand that there are songs that people are never going to hear.
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And so I’m not afraid to step away from a song entirely and say, hey, if it’s not happening for this song on this day, that’s okay.
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I think the right way to produce a song is to listen to the song and give the song what it needs, you know?
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And that requires a level of— a level of humility.
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You may think, okay, well, this is what it needs to do because I’ve done this before and I know that that works.
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But sometimes it's being able to say, hey, maybe it’s something that I’ve never thought of before, and maybe it’s something that’s going to come to me in its own time.
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And you can't rush the creative process.
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A lot of times you literally have to step back from it and say, how can I be in service to the song?
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For me, stepping back to gain perspective on a song, it can come in a few different ways.
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Sometimes it’s me listening to a song a bunch, and sometimes it’s me not listening to the song at all; literally letting it sit for a few days or a week, working on some other music and then coming back to it.
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You know, sometimes it's playing the song around other people.
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It's not an exact science.
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Part of it is just being receptive to the fact that it might look totally different on one song than it does on another song.
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You might get to that finished product the day that you write it, and then there's other songs that might take you months or even years.
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And I don’t think either of those is wrong.
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It just literally depends on how it comes to you and where your inspiration arrives from.
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For me, it’s just recognizing that it’s not always going to go exactly the way I want.
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And that even those “dud songs,” are the ones that don’t get finished, you know, they still help inform the way that I write songs in the future.
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And I think it’s those great songs that you end up getting, oftentimes you would not get those songs if it weren't for the songs that you feel like you missed or that you didn’t get it.
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And so just trying to continue to encourage yourself and not get too down on yourself because something isn’t going at the speed that you want or coming together in quite the way that you want.
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You will eventually get to the songs that you really want if you just continue to work on it.

Perché praticare il parlato con questo video?

Questo video offre un'importante lezione sulla perseveranza e la creatività, elementi fondamentali non solo nella musica, ma anche nell'apprendimento delle lingue. Ascoltando la storia di come Breland ha affrontato le sue sfide, puoi trarre ispirazione per superare le difficoltà che incontri mentre impari l'inglese. Non aver paura di scrivere o parlare, anche quando senti di non essere all'altezza; ogni tentativo ti avvicina di più alla padronanza della lingua.

Praticare il shadowing in inglese, ossia ripetere ciò che ascolti, ti aiuterà a migliorare la tua fluidità e pronuncia. Questo video è perfetto perché ti consente di ascoltare un parlante nativo e imitare il suo ritmo e le sue espressioni, facilitando l'acquisizione di nuove abilità linguistiche.

Grammatica ed espressioni in contesto

  • "I decided to double down" – Questa espressione indica una decisione di intensificare i propri sforzi, utile per esprimere determinazione nel perseguire i propri obiettivi.
  • "I started reaching out" – Qui si utilizza "reach out" per indicare il contatto con altre persone, fondamentale per costruire relazioni e connettersi con chi può offrire supporto.
  • "It’s not happening for this song on this day" – Questo esempio dimostra l'importanza di accettare i limiti e di comprendere che non tutte le creazioni possono essere perfette al primo tentativo.

Incorporare queste frasi nelle tue conversazioni quotidiane ti aiuterà a suonare più naturale e a comunicare le tue idee con maggiore chiarezza.

Trappole comuni nella pronuncia

Durante il video, alcuni suoni e accenti possono risultare complicati da pronunciare. Ad esempio, la parola "music" (musica) può essere difficile se pronunciata rapidamente. Fai attenzione anche all'accento sulla prima sillaba. Un'altra parola da tenere presente è "wasting", che ha una pronuncia più morbida. Per migliorare, prova a fare shadow speech, ripetendo queste parole più volte fino a sentirti sicuro.

Infine, non dimenticare di utilizzare shadow speak impegnandoti a osservare attentamente le intonazioni e le pause di Breland mentre parla. Questo ti aiuterà a migliorare non solo la tua pronuncia, ma anche l'espressività nel parlare.

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.

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