Shadowing Practice: Andrew Ford talks about The Waltz Book, part 1 - Learn English Speaking with Video

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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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Woordenschat en spreektips bij deze les

Deze spreekles is gebaseerd op de video “Andrew Ford talks about The Waltz Book, part 1”. Deze woorden komen het vaakst terug: piece, waltzes, waltz, writing, tile. Deze video bevat 56 zinnen en 774 woorden om na te spreken. Het gesproken deel duurt 5:50. De spreker praat in een gelijkmatig tempo van ongeveer 133 woorden per minuut, prettig om te shadowen. 86% van de woorden hoort bij de 3.000 meest gebruikte Engelse woorden; de rest kun je beter vooraf bekijken.

Belangrijke woorden in deze video

15 woorden uit de video die het leren waard zijn, met uitspraak en betekenis:

Woord	Uitspraak	Betekenis
tile zelfstandig naamwoord	/ˈtaɪ.əl/	tegel, dakpan
mosaic zelfstandig naamwoord	/moʊˈzeɪ.ɪk/	mozaïek
occur werkwoord	/əˈkɜː/	plaatsvinden
select werkwoord	/sɪˈlɛkt/	uitkiezen, selecteer
experiment zelfstandig naamwoord	/ɪkˈspɛɹ.ə.mənt/	experiment, proef
partly bijwoord	/ˈpɑɹtli/	deels, gedeeltelijk
spare bijvoeglijk naamwoord	/spɛɚ/	extra
differently bijwoord	/ˈdɪf.ə.ɹənt.li/	verschillend, anders
attract werkwoord	/əˈtɹækt/	aantrekken
depend werkwoord	/dɪˈpɛnd/	afhangen
notion zelfstandig naamwoord	/ˈnoʊʃən/	notie, besef
pause zelfstandig naamwoord	/pɔːz/	pauze
speculation zelfstandig naamwoord	/ˌspɛk.jəˈleɪ.ʃən/	giswerk, speculatie
intricate bijvoeglijk naamwoord	/ˈɪn.tɹɪ.kət/	ingewikkeld, gecompliceerd
compose werkwoord	/kəmˈpəʊz/	samenstellen

Phrasal verbs die je zult horen

Woord	Betekenis
come back werkwoord	terugkomen

Uitspraak om op te letten

De spreker gebruikt 10 samentrekkingen en verkorte vormen, zoals you've, I'd, don't. Spreek ze kort uit, zoals je ze hoort.

De klanken “sh” en “zh”: notion /ˈnoʊʃən/, speculation /ˌspɛk.jəˈleɪ.ʃən/
Lange woorden — let op de klemtoon: experiment /ɪkˈspɛɹ.ə.mənt/, differently /ˈdɪf.ə.ɹənt.li/, speculation /ˌspɛk.jəˈleɪ.ʃən/

Klanken die Nederlandstaligen lastig vinden:

Stemhebbende eindmedeklinker — /b/, /d/, /g/, /z/, /v/ niet verscherpen: depend /dɪˈpɛnd/, pause /pɔːz/, compose /kəmˈpəʊz/

Zo oefen je met deze video

Luister de hele video één keer zonder te spreken en noteer de woorden die je niet kent.
Spreek zin voor zin na op normale snelheid en herhaal elke zin tot je ritme gelijk is aan dat van de spreker.
Neem jezelf op en vergelijk met het origineel; let daarbij op woorden als tile, mosaic, occur.

Wat is de Shadowing-techniek?

Shadowing is een wetenschappelijk onderbouwde taalleermethode die oorspronkelijk is ontwikkeld voor professionele tolkentraining en gepopulariseerd door polyglot Dr. Alexander Arguelles. De methode is eenvoudig maar krachtig: je luistert naar native Engelse audio en herhaalt het onmiddellijk hardop — als een schaduw die de spreker volgt met slechts 1–2 seconden vertraging. In tegenstelling tot passief luisteren of grammaticadrills, dwingt shadowing je hersenen en mondspieren om echte spraakpatronen tegelijkertijd te verwerken en te reproduceren. Onderzoek toont aan dat het de uitspraaknauwkeurigheid, intonatie, ritme, verbonden spraak, luisterbegrip en spreekvaardigheid aanzienlijk verbetert — waardoor het een van de meest effectieve methoden is voor IELTS Speaking-voorbereiding en echte Engelse communicatie.

Shadowing-techniek: lees de volledige stap-voor-stap-gids →