シャドーイング練習: Andrew Ford talks about The Waltz Book, part 1 - 動画で英語スピーキングを学ぶ

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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.

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このレッスンの語彙とスピーキングのポイント

このスピーキングレッスンは、動画「Andrew Ford talks about The Waltz Book, part 1」を教材にしています。繰り返し出てくる語は次のとおりです：piece, waltzes, waltz, writing, tile。この動画には、シャドーイング用の文が56文、単語が774語あります。音声の長さは5:50です。話す速さは1分あたり約133語で安定しており、シャドーイングしやすいペースです。単語の86%は英語の頻出3,000語に含まれます。残りは練習の前に確認しておきましょう。

この動画の重要語彙

動画に出てくる覚えておきたい単語15語を、発音と意味つきで紹介します。

単語	発音	意味
tile 名詞	/ˈtaɪ.əl/	タイル, 瓦
mosaic 名詞	/moʊˈzeɪ.ɪk/	モザイク
chart 名詞	/t͡ʃɑɹt/	チャート, 図表
occur 動詞	/əˈkɜː/	起こる, 起る
select 動詞	/sɪˈlɛkt/	選ぶ
experiment 名詞	/ɪkˈspɛɹ.ə.mənt/	実験
partly 副詞	/ˈpɑɹtli/	部分的に, 一部
attract 動詞	/əˈtɹækt/	引きつける
depend 動詞	/dɪˈpɛnd/	依存する
notion 名詞	/ˈnoʊʃən/	概念
pause 名詞	/pɔːz/	休止, 中断
intricate 形容詞	/ˈɪn.tɹɪ.kət/	複雑
waltz 名詞	/wɔlts/	ワルツ, 円舞曲
encore 名詞	/ˈɑnkoɹ/	アンコール
unify 動詞	/ˈjunəfaɪ/	一つにする, 統一する

動画に出てくる句動詞

単語	意味
come back 動詞	戻る, 帰る
draw up 動詞	練る

注意したい発音

話し手はyou've, I'd, don'tなど、短縮形や弱形を10回使っています。聞こえたとおりの短い形で発音しましょう。

「sh」と「zh」の音: notion /ˈnoʊʃən/, speculation /ˌspɛk.jəˈleɪ.ʃən/
長い単語（アクセントの位置に注意）: experiment /ɪkˈspɛɹ.ə.mənt/, differently /ˈdɪf.ə.ɹənt.li/, speculation /ˌspɛk.jəˈleɪ.ʃən/

日本語話者が苦手な音：

/r/ と /l/ の区別 — /l/ は舌先を歯茎につけ、/r/ はどこにもつけない: partly /ˈpɑɹtli/, differently /ˈdɪf.ə.ɹənt.li/
/f/ — 「フ」ではなく、上の歯と下唇で出す: differently /ˈdɪf.ə.ɹənt.li/, unify /ˈjunəfaɪ/
子音の連続 — 間に母音を入れない: slot /slɑt/, chart /t͡ʃɑɹt/, select /sɪˈlɛkt/, experiment /ɪkˈspɛɹ.ə.mənt/, partly /ˈpɑɹtli/

この動画での練習方法

まず声を出さずに動画を最後まで聞き、知らない単語をメモします。
通常の速度で一文ずつシャドーイングし、話し手のリズムに合うまで繰り返します。
自分の声を録音して元の音声と比べます。tile, mosaic, chartなどの単語に特に注意しましょう。

シャドーイングとは？英語上達に効果的な理由

シャドーイング（Shadowing）は、もともとプロの通訳者養成プログラムで開発された言語学習法で、多言語習得者として知られるDr. Alexander Arguelles によって広く普及されました。方法はシンプルですが非常に効果的：ネイティブスピーカーの英語を聞きながら、1〜2秒の遅延で声に出してすぐに繰り返す——まるで「影（shadow）」のように話者を追いかけます。文法ドリルや受動的なリスニングと異なり、シャドーイングは脳と口の筋肉が同時にリアルタイムで英語を処理・再現することを強制します。研究により、発音精度、抑揚、リズム、連音、リスニング力、そして会話の流暢さが大幅に向上することが確認されています。IELTSスピーキング対策や自然な英語コミュニケーションを目指す方に特におすすめです。

シャドーイングのやり方: ステップ別の完全ガイドを読む →

シャドーイング練習: Andrew Ford talks about The Waltz Book, part 1 - 動画で英語スピーキングを学ぶ

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