シャドーイング練習: Write every day, even if it’s terrible | Think Like A Musician - YouTubeで英語スピーキングを学ぶ

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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.

コンテキストと背景

この動画では、シンガーソングライターのダニエル・ブリース（Breland）が、音楽のキャリアの初期に遭遇した挑戦について語っています。彼は、重要な人物であるリョール・コーエンとのミーティングで厳しいフィードバックを受け、その後、毎日曲を書き続ける決意を固めました。この体験は、彼にとっての成長と創造性の重要性を示しています。

日常会話のための5つのフレーズ

  • “Why am I here?” - 「なぜここにいるのですか？」
  • “This is a waste of my time.” - 「これは私の時間の無駄です。」
  • “I’m going to write and record a song every day.” - 「私は毎日曲を書いて録音します。」
  • “How can I be in service to the song?” - 「どのように曲をサポートできるでしょうか？」
  • “Just continue to work on it.” - 「ただそれに取り組み続けてください。」

ステップバイステップ・シャドーイングガイド

このビデオを通じて、効果的に英語を学び、英語の発音を良くするためには、以下のステップに従って影を追う（シャドーイング）ことが有効です。

  1. ビデオを観る: 最初に、全体を通してビデオを視聴し、内容を理解します。重要なフレーズや表現に注意を向けましょう。
  2. 音声を聞く: 次に、音声を何度も聞き返し、発音やリズムを確認します。特に、感情やイントネーションに注目すると良いでしょう。
  3. シャドーイングの実践: 音声を聞きながら、同時に声に出して模倣します。最初はゆっくりとしたペースで始め、徐々に音声のスピードに合わせていきます。これは英語スピーキング練習に非常に効果的です。
  4. 自分の声を録音: シャドーイングが上達してきたら、自分の声を録音し、発音やリズムを確認します。これにより、自分の成長を実感することができます。
  5. フィードバックを求める: 友人や教師に自分のパフォーマンスを聞いてもらい、アドバイスをもらいましょう。英語シャドーイングを取り入れることで、さらにブラッシュアップできます。

毎日継続して取り組むことで、英語のコミュニケーション能力や発音が飛躍的に向上します。この方法は、音楽の世界で成功を収めるための道筋としても役立ちます。英語の発音を良くするための注力を惜しまないでください！

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。

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