シャドーイング練習: You can progress more in 6 minutes than you would in a month | Daniel Coyle - 動画で英語スピーキングを学ぶ
練習モードを選ぶ
各モードは全画面の練習ルームで開きます。
325 文
文が短すぎたり長すぎる場合は、Editをタップして調整してください。
1
We live in this moment of peak individualism.
2
And so whenever we see achievement, we focus on that individual.
3
We focus on what makes them special.
4
We focus on their habits, their behaviors.
5
We just see them.
6
If you were to look at Hemingway and look at him through the lens of individualism, you would say, well, what makes you great?
7
And it would be about his hard work.
8
It would be about his particular gift, his talent.
9
And that's a very sexy story to tell.
10
It's a very beautiful story to tell that he's sort of a magical person that Steve Jobs is a magical person, that Michael Jordan is a magical person, and that Baryshnikov is a magical person.
11
We get kind of addicted looking at through this individualistic lens.
12
But when we do that, we're blind to all the other forces that are actually truthfully generating that talent, generating that performance, generating that fulfillment.
13
I'm Daniel Coyle.
14
I write about the science of human potential.
15
I'm the author of The Talent Code, The Culture Code, and my new book, Flourish.
16
Thank you for watching Big Think.
17
If you'd like to support our work, we encourage you to join our members community.
18
As a member, you'll receive our quarterly print magazine, a beautifully designed collection of the ideas and interviews that matter most.
19
Big Think is for curious people who want to take deep dives into big ideas.
20
To support the media you want to see in the world, go to bigthink .com slash membership.
21
And now back to the interview.
22
Where talent actually comes from.
23
When you actually scratch the surface of a great performer, when you actually look into what made a Hemingway or a Jordan or a Baryshnikov,
24
what you will invariably find is an elite environment, a bunch of relationships, a bunch of connection.
25
Oh, Mr. Hemingway, he's a great writer.
26
Well, who taught him to love words?
27
What models served him as he began to develop?
28
What kind of environment was he in?
29
And when you begin to take this environmental lens lens and put it on, it opens up new opportunities for leadership.
30
It's really, in the end, about creating conditions where people can grow together.
31
There's a great saying in the Tao Te Ching, where there's a good leader, people say, what a good leader that is.
32
But where there's a great leader, people say, we did it ourselves.
33
That's not how we typically have thought about leadership in the past.
34
We often focus on control.
35
We often focus on results.
36
We often focus on sort of treating people as if they're separate from others.
37
But when we take this more ecological approach, it opens up opportunity.
38
It opens up new ways to create more growth.
39
So I spent five years visiting talent hotbeds all over the world, like places that produced impossible numbers of talented performers,
40
a Russian tennis club that produced more top 25 players than the entire United States, or a Bulgarian chess club.
41
And the places that I visited had these sort of common features in their environment that I saw over and over again.
42
The first thing is they were kind of junky.
43
I started to call them chicken wire Harvards.
44
You know, you'd go to the music camp
45
and there'd be like cinder blocks holding up the stairs and the camp hadn't been repaired in a long time.
46
They didn't put their attention on creating a luxurious environment.
47
They explicitly did not.
48
They actually kept it very Spartan.
49
An elite development environment is not one where every luxury is given to you.
50
It's a place of work.
51
It's a place of craft.
52
The second thing I noticed is that they really had a different relationship to mistakes.
53
There's something called learning velocity.
54
And the best story I know to get a handle on that is a story about Clarissa.
55
Clarissa was a 15 -year -old musician.
56
And she was part of this study done by a psychologist named Gary McPherson.
57
And McPherson tracked her study for months.
58
And he identified one segment, one brief segment, six -minute segment, where she progressed more than she did in a month of normal practice.
59
And the question is, what did that look like?
60
Well, Clarissa's sitting down, she's wearing a hoodie, she's got her clarinet, and she's looking at the music really intently, looking at it just ferociously intently,
61
and then she plays a little snatch of a song, it's called The Golden Wedding, and she plays the first couple bars, it's a jazzy little tune, and then she makes a mistake and she stops.
62
She feels that mistake, and then she reads the notes again, and she goes back and she hums it to herself, and then she goes back and she plays a little bit further, and she makes another mistake and she stops
63
if you picture what the wires of her brain are doing in
64
that moment she's reaching she's sensing that failure and then reaching again
65
and that's called deep practice it's
66
when you get to the edge of your ability to increase learning velocity
67
when you deliberately make mistakes in order to build skill that's what deep practice is and
68
when i visited these talent hotbeds they were all practicing like
69
a bunch of clarissas they were They're all keenly focused on pushing themselves to the edge of their ability, sensing that mistake and then reaching again.
70
And deep practice is all about that moment of reach, that moment of reach where our learning velocity goes up.
71
And really it's a moment of reinterpreting what mistakes are.
72
You know, we walk around thinking mistake is a verdict.
73
Mistake is a sign, this isn't meant for me.
74
But in fact, a mistake is information.
75
It's information over where you should reach next.
76
And that combination of this intense desire plus this intense reaching, it's like this engine, right?
77
You've got this high motivation fuel reaching into this zone.
78
And when we think about who the fastest learners in the world are, well, for my money, the fastest learners in the world are probably like 12 -year -old kids on their skateboards.
79
They learn really, really fast.
80
They get good really, really fast.
81
Who are the slowest learners in the world?
82
Well, maybe those same kids in their algebra class.
83
What's happening in those cases?
84
Look at them through a Clarissa lens.
85
In the skateboard, the skateboard is showing them, the environment of that skateboard is showing them where the mistakes are.
86
They feel it.
87
They feel that moment and they can correct and adjust.
88
They can make mistakes and fix.
89
In the algebra classroom, they're sort of sitting passively and knowledge is washing over them.
90
The learning velocity of certain environments, by tweaking the environment, you can massively impact the learning velocity.
91
And that's the lesson of these talent hotbeds.
92
They tweak the environment to create those reaches to improve learning velocity.
93
Like for example, at that same music school, Meadow Mount School of Music, they would take a sheet of music that they're learning.
94
And this is a place where some of the top musicians on the planet have trained.
95
They would take their sheet music and cut it into strips, each line.
96
Cut it up and mix them up in a bowl.
97
Pull one out, play it, and try to learn bit by bit, chunk by chunk.
98
One of the places that I saw that was really good at generating airs was Brazilian soccer.
99
You know, there's a mystery.
100
Why does Brazil produce so many brilliant soccer players?
101
And the answer to that mystery is usually, well, it's Brazil.
102
It's warm, and they play on the beach, and it's really inviting, and they love soccer.
103
And that explanation makes a little bit of sense, but when you think about it more deeply, there's a lot of places that are warm.
104
There's a lot of places that love soccer.
105
And until the 50s, Brazil wasn't actually that good.
106
They were beaten by Hungary in the World Cup, which is not exactly a beach nation.
107
So what happened to make Brazil good?
108
They became addicted to this strange little game.
109
It's called football do salão soccer in the room.
110
And it resembles soccer if you fed soccer amphetamines and shoved it in a phone booth.
111
Like, it's intensely fast.
112
The space is about as big as a basketball court.
113
The ball is small, smaller center of gravity, five a side.
114
Its passing lanes are very narrow.
115
The game is very fast.
116
There's no space.
117
You have to make decisions right now.
118
It forces you into the sweet spot over and over again.
119
There's no room.
120
The ball's small, difficult to control.
121
So the vision that creates the pressure that creates it puts people into
122
that zone of development into
123
that clarissa spot brazil is uniquely addicted to football disallow there
124
were until about 2009 i think there were 39 international championships
125
and brazil had 138 of them it's played all over the nation and
126
when you look at the biographies of great brazilian players they
127
all spent a huge portion of their youth doing this playing this game that's what surprised me about those those talent hotbeds,
128
that they were not making each other comfortable.
129
They were tipping their environment so that they could get into that Clarissa zone, so they could make more mistakes, so they could build more skill.
130
And I call it the rule of 20%.
131
If you're making mistakes about 20 % of the time, you're probably in the sweet spot.
132
If you're not making any mistakes, you are not learning.
133
If you're making 80 % mistakes, you're not in the sweet spot.
134
That's pretty sour to be there.
135
And the great irony of the sweet spot is that it feels kind of bitter.
136
It's really hard to hang out making 80 % success and 20 % mistakes.
137
It's hard.
138
So it takes that extra bit of focus.
139
It takes that what they would call deliberate practice.
140
There was this embrace of struggle where the struggle was validated.
141
The struggle was expected.
142
The struggle was noble.
143
I saw it really vividly at Spartak.
144
Spartak is a tennis club outside of Moscow.
145
It has produced more top 25 women players than the entire United States in the 1990s and the early 2000s.
146
And when you get to Spartak, you start to wonder why, because it's like in the middle of this huge park,
147
and it's like an old Quonset hut.
148
It looks like something ancient from World War II.
149
And when I walked there, I felt like I had gone to the wrong place, because it was sort of, looked kind of deserted.
150
There was a tiny door.
151
I remember opening the door, but I didn't hear tennis balls.
152
I kind of expected to hear tennis balls, but I didn't hear tennis ball.
153
And the reason I didn't hear is that they were all swinging without the ball.
154
they were all in a line almost like dancers swinging slowly
155
and the teacher whose name was larissa preobrazinska she was 79
156
and it was this was her routine she would not let
157
them begin to compete until they had perfected the stroke she
158
was incredulous how can you start to compete unless you build the stroke
159
and so what she was doing with
160
that slow motion practice almost like dancers moving through the stroke
161
fixing their wrist fixing their elbow having them repeat it and repeated until it was absolutely built and grooved.
162
Then they could go to compete.
163
It really, for me, captured that sense of focus and focus on building that happens in these places.
164
They're not sort of rolling out the balls and saying, go hit balls and see who has magical talent.
165
They're saying, wait a minute, we have to start from the ground.
166
We have to start from the most basic transfer of power, from the most basic movement of your body.
167
And let's focus on that and struggle through that until we've got it
168
and they build it piece by piece by piece by piece
169
i mean the rule of 10 000 hours has been both elevated
170
and trashed in in recent years
171
and in some ways i think we've landed on this sort of medium area where it's not a hard
172
and fast rule you can't just go do 10 000 hours of something
173
and be world class and yes it depends on
174
which skill you're trying to do
175
if you're doing high jump genetics play a bigger role on
176
that if you're doing the 100 meter sprint genetics play a bigger role on that
177
but for most skills it's a pretty good rule of thumb
178
to say you need to deep practice you need to deep practice a lot
179
and you need to build
180
that circuitry that's sort of a non -negotiable you need to build
181
that surgery and that takes that takes time
182
so there's not a sort of a shortcut
183
or a hack to get to this spending time building those
184
fundamentals building those circuits making those mistakes reaching past where you currently are on the edge of your ability
185
and doing that over
186
and over again that's what what actually skill to skill is
187
built of it's kind of a depressing message in some way
188
to say oh yeah there's not a there's not a shortcut
189
but on the other hand what i see in the talent hotbeds is
190
that it's an immensely liberating message it's an immensely joyful message and it makes each repetition actually matter?
191
Because each time you're going to a slightly further place.
192
You made the mistake, you learned from the mistake, you grew.
193
And so that growth is what repetition actually is.
194
There was also this sense that you could steal ideas.
195
There wasn't a sense that everything was individual, like that you had to figure out your way to do it.
196
It was a sense you could borrow and beg and steal ideas from other people.
197
An elite environment is one where a person has the opportunity to learn from others, to stare, to stare and learn.
198
That's really the first moment of deep practice when we look at a skill and say, I want to do that and kind of fall in love with it, fall in love with that baseball swing,
199
fall in love with that poem, fall in love with that music, fall in love with that dance move, to really take it inside yourself.
200
And that's that same pattern that I saw, a social environment where you can stare and learn, a place where you're not focused on yourself, but you're using other people's ideas,
201
and a place where struggle is not just accepted, but validated and made noble.
202
You know, one of the greatest mysteries in the world is why did the Renaissance happen?
203
Why did the Renaissance happen in Italy at that time?
204
And there's all kinds of reasons historians give.
205
Oh, it happened, you know, because Florence was emptied out by the plague and because the Medicis existed.
206
But when all those reasons also happened in other places, why was it there?
207
And what you find out when you dig into that is that Florence was where craft guilds evolved.
208
A guild was a workshop where young people were brought in
209
and taught the craft of mixing paint and carving stone and making frescoes and preparing pigments.
210
And they would get hundreds of reps, thousands of reps, thousands of hours spent learning about the fundamentals of their craft each one of those reps putting them into
211
that zone of deep practice that's the kind of environment that's
212
an elite development environment it's not one where they got put in a kind of a country club and environment
213
and given lessons from painters it's ones where they were working
214
every day with other people on real projects you know learning
215
as they went first as a young apprentice learning how to
216
prepare the surface then mixing the paints learning how the medium
217
worked watching great masters at work they're staring they're struggling and they're stealing And that to me is an elite environment.
218
And so as we look at our schools, as we look at our families, as we look at our work environments, the challenge to us is,
219
how do we create that environment where it is safe to stare, struggle, and steal together at a craft of getting better?
220
And create that kind of guild environment where we can dig in and grow ourselves.
221
I think the most mind -blowing thing that I see people astonished by is the compounding effect.
222
If you improve 1 % a day at piano, at public speaking, at dance, at whatever you're trying to improve at, 1 % a day for a year,
223
by the end of that year, you're 37 times better than when you started.
224
Compounding, exponential growth is mind -blowing. And
225
so that's why I think we've all had experiences in our
226
lives where we've had people around us who've just taken off like rocket ships.
227
Kids in our neighborhood who've grown up to be incredible musicians, maybe.
228
Or people we used to go to high school with who were very unimpressive, who now are incredibly impressive in terms of their skill and their talent level.
229
And that speaks, really, to all that potential that's right there waiting for you when you take off that individual focus,
230
when you start looking at it through a more holistic kind of ecological lens.
231
When you stop treating talent as a magical gift and start treating it as something you can grow.
232
The question this leads us to is, how do you get, that's a big project, like growing that much skill, spending that much time.
233
It's not an easy thing to spend all that time at the edge of your ability.
234
What makes someone do that?
235
And the answer is ignition.
236
We tend to think of motivation as this internal trait, and yes, it feels that way.
237
But in fact, it's about this relationship, this interaction that we have with the culture around us.
238
Motivation doesn't happen from the inside out it always happens from the outside in.
239
When we see someone that we want to become, when we see a vision of our future self, that is what unlocks motivation.
240
Somebody who is sort of like a person on the horizon toward which we want to travel.
241
And there's all kinds of fascinating experiments that they've done to do this.
242
One of my favorites is this birthday experiment.
243
They have a class read a biography of a mathematician, and it gives some information about the mathematician and it talks about where they were born, talks about how they developed.
244
And at the end of it, as part of the bio, they give the mathematician's birthday.
245
But here's the twist.
246
For half of the students, the birthday of the mathematician matched their actual birthday.
247
The experimenters made it match.
248
And then they gave everybody in that experiment a math test.
249
Like, okay, you read about this mathematician.
250
How hard will you work on the math test?
251
And the people whose birthday matched worked three times as hard on the math test.
252
There was an unsolvable problem on the math test.
253
And they spent three times as much time working on that problem, which is kind of crazy, because all it was was just this little moment, like you and the math teacher are connected.
254
This little guitar string inside them got plucked, like, oh, that math teacher is connected to me in some way.
255
And that social connection unlocked energy.
256
And that's how we're built.
257
When we see something that we really connect with in our windshield, that we feel that guitar string get plucked, it unlocks energy.
258
And that's that moment of ignition.
259
You know, we typically think of talent hotbeds as being kind of magical places.
260
But in fact, with many of them, you can go back in time and see the moment when they got lit, when they got ignited.
261
If you're a Russian tennis player, it was when Anna Kornikova went to the finals at Wimbledon.
262
A girl from Spartak from that same club showed up.
263
She went all the way to the finals at Wimbledon.
264
Next thing you know, there's more champions coming out of Spartak five years later.
265
If you're a baseball player on the island of Curacao, it's the moment Andrew Jones hit three home runs in a World Series in 1996.
266
From that moment on, that island began.
267
It's like that ultimate guitar string.
268
They're all saying, if they can do it, why can't I?
269
And that moment, which is, by the way, completely irrational, illogical, defies everything that we would know about individual development and talent.
270
And yet, because talent is actually this process through which we are using energy,
271
funneling energy into this deep practice to grow skills, to grow circuitry, that's why that's powerful.
272
It's like a lightning bolt that absolutely lights up a place where people can say, if they can do it, why can't I?
273
Because motivation is this kind of remarkable kind of lightning bolt moment a lot of times, You can't force it to happen,
274
but you can increase the likelihood of it happening with a certain set of tools One place I saw
275
that did this really well was Pixar You know we all know Pixar is good at making movies
276
If you're a new employee at Pixar on your first day You come to an auditorium
277
and you sit there
278
and Ed Catmull tells you a couple things He makes a
279
very short speech the speech goes like this whatever you did before you're a movie maker now
280
We need you to help us make our films better
281
that's the end of the speech it's a very short speech
282
and then they have these things where they'll bring everybody together
283
and watch versions rough versions of the Pixar films the whole company baristas come together engineers IT folks
284
and they watch them and they they ask for suggestions do you notice anything could be better
285
And I met an IT guy who had suggested a badge on the character in Up.
286
They had some, like, funny message in his scout badges.
287
There was a Boy Scout in the movie Up.
288
And the IT guy had raised his hand and made a suggestion, and they had put it in the movie.
289
It's about creating a moment where you're inviting someone in, inviting someone in to play a role of active contribution to that goal,
290
to that task, to that larger thing.
291
I saw it in Curacao on the baseball field.
292
Yeah, that's a place that has produced an uncountable number of major leaguers after they produced just the one.
293
I coached Little League, so I was curious.
294
How did they organize their practice?
295
I organized my practice.
296
There's just a coach and 12 players.
297
On the field in Curacao, there's about 100 players.
298
And they're divided up into groups, and they have the older kids teaching them.
299
Now, what a moment is that?
300
Rather than looking at some old guy, they're being taught by older versions of themselves.
301
Kids who had been to the Little League World Series kids
302
who were on their way to maybe play in the major leagues.
303
Think about that guitar string moment, that moment of being invited in to that struggle, to that contribution, to that growth process.
304
They're really good at structuring environments to create that kind of invitation
305
that Ed Catmull is offering and that those older players in Curacao are offering.
306
It's saying, here's a future vision of yourself.
307
Here's something you can play a part in.
308
Do you want to do that?
309
And inviting people in.
310
We tend to, through that individualistic lens, look at Pixar and Ed Catmull as being kind of magical.
311
Well, that's just their little magic dust or whatever.
312
But it's a playbook.
313
I mean, it is an absolute playbook that you can, with the right level of deep knowledge and sincerity and learning and growth, apply that in other places.
314
And they certainly did in Walt Disney.
315
When Walt Disney acquired them, Walt Disney was struggling.
316
They hadn't produced a good movie in a long time, their animated division.
317
And Ed Catmull started visiting there once a week, and he moved the desks around so people had to come walk by him.
318
And he created these brain trust meetings where they would get together just like with the earlier example, where people are pointing out flaws together and pointing out things they could do better.
319
And next thing you know, Disney has turned around their animated division entirely.
320
Four times a year, we print a magazine worth putting your phone down for.
321
Big Think's premium print magazine is built with custom artwork and expert insight from the world's biggest thinkers.
322
No AI slop, no rage bait.
323
Just big ideas for curious people.
324
Support the media you want to see in the world.
325
Go to bigthink .com slash membership to join.
アプリをダウンロード
流暢に話すために必要なすべて
AI発音採点文ごとに採点
IPA練習すべての音をマスター
単語学習自分の単語帳を作る
単語ゲーム遊びながら覚える
同じチャンネル
C11
Semiconductors explained in 16 mins | Chris Miller
Daily ConversationUniversity StudentsWorking Adults
C11
Mark Manson: Self-control is a complete illusion
Daily ConversationUniversity StudentsWorking Adults
C13
The strange reason nobody views their own retaliation as evil | Paul Bloom
IELTS PrepTOEFL PrepUniversity Students
C116
Why relationships in 2026 carry impossible expectations | Alain de Botton
Daily ConversationUniversity StudentsWorking Adults
C111
The 3 ways stupidity spreads throughout a society | Jonny Thomson
IELTS PrepTOEFL PrepUniversity Students
B228
Your phone addiction is keeping you from achieving flow state | Arthur Brooks
Business EnglishDaily ConversationUniversity Students
C13
The paradox at the heart of AI and science | Terence Tao
IELTS PrepTOEFL PrepUniversity Students
C12
The one principal that all highly successful people share | Mark Manson
Business EnglishUniversity StudentsWorking Adults
B22
Physician: Listen to your body’s wisdom instead of constantly pushing to optimize it | Giulia Enders
Daily ConversationUniversity StudentsWorking Adults
C12
5 Stoic lessons to become your best self in 2026 | Massimo Pigliucci
Business EnglishUniversity StudentsWorking Adults
C1The uncomfortable question you should ask on every first date | Alain de Botton
Daily ConversationUniversity StudentsWorking Adults
C1The science of stress, coping, and recovery, in 22 minutes | Lisa Damour
Business EnglishUniversity StudentsWorking Adults
C1How to pull yourself out of a cheap dopamine spiral | Mark Manson
Business EnglishUniversity StudentsWorking Adults
C1Mary Beard: Why no film has ever cracked The Odyssey
Cambridge Exam PrepUniversity StudentsWorking Adults
FOR YOU
おすすめ動画
B21
35 文
How to Become the Best at What You Do
Daily ConversationWorking Adults
B21
157 文
Identity Shifting: How to Reinvent Yourself in 3-6 Months (in 2026)
Daily ConversationWorking Adults
B22
625 文
The Most Valuable 40 Minutes You’ll Spend This Year (Hormozi x Williamson)
Daily ConversationWorking Adults
B21
305 文
The Secret to Finding Perfect Timing | Daniel Pink
Daily ConversationWorking Adults
B21
6 文
The Pygmalion Effect
Daily ConversationUniversity StudentsWorking Adults
B244
13 文
You can achieve anything you want
American AccentDaily ConversationWorking Adults
B21
120 文
The Easiest Way to Master a New Skill: Robin Sharma on Learning
Daily ConversationWorking Adults
B21
62 文
10 Skills That Give You an Unfair Advantage in Life
Daily ConversationWorking Adults
B21
275 文
The 5 Habits 80% of Top Performers Use Every Day | Aspire Archives
Daily ConversationWorking Adults
B210
58 文
How to Become Extraordinary (or Not)
American AccentDaily ConversationWorking Adults
B29
32 文
So much to learn from Eileen Gu ❤️👏 #Olympics #WinterOlympics
Business EnglishDaily ConversationUniversity Students
B21
87 文
6 Minutes To Get Ahead Of 99% Of The World
Daily ConversationWorking Adults
このレッスンの語彙とスピーキングのポイント
このB2レベルのスピーキングレッスンは、動画「You can progress more in 6 minutes than you would in a month」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：mistake, environment, moment。 この動画には、シャドーイング用の文が325文、単語が4201語あります。 音声の長さは22:28です。 話す速さは速く、1分あたり約187語です。音のつながりや弱く発音される音が多くなります。 単語の84%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
動画の中で特に難しい単語15語を、発音と意味つきで紹介します。
| 単語 | 発音 | 意味 |
|---|---|---|
| lens 名詞 | /lɛnz/ | レンズ |
| hotbed 名詞 | /ˈhɒt.bɛd/ | 温床 |
| velocity 名詞 | /vəˈlɑsəti/ | 速度 |
| mathematics 名詞 | /mæθ(.ə)ˈmæt.ɪks/ | 数学 |
| stare 動詞 | /stɛɚ/ | 見詰める, じろじろ見る |
| mathematician 名詞 | /ˌmæθ.(ə.)məˈtɪʃ.ən/ | 数学者 |
| learner 名詞 | /ˈlɜɹnəɹ/ | 学習者 |
| skateboard 名詞 | /ˈskeɪt.bɔɹd/ | スケートボード |
| addict 名詞 | /ˈæd.ɪkt/ | 中毒者 |
| unlock 動詞 | /ʌnˈlɑk/ | 開ける, 解錠する |
| musician 名詞 | /mjuˈzɪʃən/ | 音楽家 |
| individualism 名詞 | /ˌɪn.dɪˈvɪ.dʒu.əˌlɪ.zəm/ | 個人主義 |
| pluck 動詞 | /plʌk/ | 摘む, もぐ |
| repetition 名詞 | /ˌɹɛp.əˈtɪʃ.ən/ | 繰り返し, 反復 |
| shortcut 名詞 | /ˈʃɔːtkʌt/ | 近道 |
動画に出てくる句動詞
| 単語 | 意味 |
|---|---|
| go back 動詞 | 戻る, 帰る |
| point out 動詞 | 指す, 指し示す |
| take off 動詞 | 脱ぐ |
| find out 動詞 | 見出す, 調べる |
| go up 動詞 | 上がる, 登る |
| show up 動詞 | 現れる |
| sit down 動詞 | 座る, 腰掛ける |
| turn around 動詞 | 振り向く |
繰り返し練習したい文
動画に出てくる短く完結した文です。日常会話でそのまま使えます。
- Mistake is a sign, this isn't meant for me.
- It's information over where you should reach next.
- How hard will you work on the math test?
- They're all saying, if they can do it, why can't I?
- Do you want to do that?
この動画の文法
話し手がよく使っている文型を、動画の実際の表現とともに紹介します。
| 文型 | 動画での表現 |
|---|---|
| 現在完了形 have/has + 過去分詞 — 過去の出来事が今も関係している | have thought · have trained · has produced |
| 受動態 be + 過去分詞 — 誰がするかより、何が起きるかに焦点を当てる | been repaired · is given · isn't meant |
| 関係詞節 who / which + 節 — 人や物について情報を加える | people who want · Cup, which is · Somebody who is |
注意したい発音
話し手はyou're, they're, can'tなど、短縮形や弱形を62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。
- 「th」の音: mathematics /mæθ(.ə)ˈmæt.ɪks/, mathematician /ˌmæθ.(ə.)məˈtɪʃ.ən/, thumb /ˈθʌm/, booth /buθ/
- 「sh」と「zh」の音: mathematician /ˌmæθ.(ə.)məˈtɪʃ.ən/, musician /mjuˈzɪʃən/, repetition /ˌɹɛp.əˈtɪʃ.ən/, shortcut /ˈʃɔːtkʌt/, ignition /ɪɡˈnɪʃən/
- 長い単語（アクセントの位置に注意）: velocity /vəˈlɑsəti/, mathematics /mæθ(.ə)ˈmæt.ɪks/, mathematician /ˌmæθ.(ə.)məˈtɪʃ.ən/, individualism /ˌɪn.dɪˈvɪ.dʒu.əˌlɪ.zəm/, individualistic /ˌɪn.dɪˌvɪ.dʒu.əˈlɪ.stɪk/
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: learner /ˈlɜɹnəɹ/, algebra /ˈæl.d͡ʒɪ.bɹə/, resemble /ɹɪˈzɛmbəl/, deliberate /dɪˈlɪb.(ə.)ɹət/, deliberately /dɪˈlɪb.(ə.)ɹət.li/
- /v/ — /b/ にならないように、上の歯を下唇に当てる: velocity /vəˈlɑsəti/, individualism /ˌɪn.dɪˈvɪ.dʒu.əˌlɪ.zəm/, individualistic /ˌɪn.dɪˌvɪ.dʒu.əˈlɪ.stɪk/, validate /ˈvæl.ɪ.deɪt/, elevate /ˈɛləveɪt/
- /f/ — 「フ」ではなく、上の歯と下唇で出す: performer /pɚˈfɔɹmɚ/, fixing /ˈfɪksɪŋ/, fascinate /ˈfæsɪneɪt/, flaw /flɔ/, biography /baɪˈɑɡɹəfi/
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。
- まず0.75倍速で一文ずつシャドーイングし、慣れてきたら通常の速度に戻します。
- 自分の声を録音して元の音声と比べます。lens, hotbed, velocity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。