Shadowing Practice: 15-minute shadowing practice for English pronunciation | Breaking Bad - Learn English Speaking with Video
Creating lesson...
1
Are you ready to practice your intonation, pronunciation, and rhythm using the show Breaking Bad?
2
Who are you talking to right now?
3
Who are you talking to right now?
4
I definitely am.
5
Today, you are going to channel your inner actor and you're going to practice shadowing with me with the show Breaking Bad.
6
We're going to shadow a scene between Walter and Skyler when Skyler asks Walter to go to the police and confess everything.
7
And he tells her that she has no idea what she's talking about.
8
And then he says the famous line, I am the one who knocks.
9
I am the one who knocks.
10
Shadowing is one of the most effective techniques to practice your expressive flow of English, pronunciation, and even grammar and vocabulary.
11
In a good shadowing practice, we repeat a speaker, either by echoing them, so they speak and you speak on top of them,
12
or by playing a line and pausing, which is what we're going to do, paying attention to one or two specific things.
13
In our case today, we are going to focus on pitch and rhythm.
14
Pitch and rhythm.
15
These elements are a part of prosody, which is everything about the human speech that is not the specific sounds that you use.
16
And it is so incredibly important to communicate a clear message, your attitude towards things, feelings, and just a clear message.
17
And you will see how that plays out in this scene.
18
If you're new to my channel, then hello, my name is Hadar.
19
I'm a non-native speaker of English, and I am here to help you speak English with clarity, with confidence, and with freedom.
20
If you like this concept of pronunciation and prosody and you want to dive deeper,
21
I invite you to sign up for my free masterclass where you can actually learn the core elements of speech
22
that are going to help you speak like a confident, clear, and expressive speaker.
23
It's absolutely free.
24
It's only one hour and it's really going to help you identify your key challenges
25
and help you create a clear plan for you to improve.
26
So if you love this video, you're going to love this masterclass and the link is in the description below.
27
Let's first listen to the full scene.
28
Walt, please, let's both of us stop trying to justify this whole thing and admit you're in danger.
29
who are you talking to right now who is it you
30
think you see do you know how much i make a year i mean even
31
if i told you you wouldn't believe it
32
do you know what would happen
33
if i suddenly decided to stop going into work a business big enough
34
that it could be listed on the nasdaq goes belly up disappears.
35
It ceases to exist without me.
36
No, you clearly don't know who you're talking to.
37
So let me clue you in.
38
I am not in danger, Skylar.
39
I am the danger.
40
A guy opens his door and gets shot and you think that of me?
41
No, I am the one who knocks.
42
Okay.
43
So now I want you to summon up your inner actor and the angry, vicious part that may not be in you,
44
but now we'll need to bring it up to be able to imitate this scene.
45
Let's get started with the first line.
46
Now, remember, today we're focusing on pitch and rhythm.
47
Pitch is the frequency of your voice.
48
It's the note that you're playing with your voice while speaking.
49
You can speak in high pitch or low pitch.
50
high, low, high frequency, low frequency.
51
And usually when people speak, we actually kind of like travel across all different notes, going up the stairs and going down the stairs.
52
And usually words that are stressed are higher in pitch.
53
And also we want to focus on rhythm.
54
And that is when words are stressed, they are usually a little longer.
55
And when words are less important, they go by faster and they're going to be softer.
56
This is what I want you to focus on in this little speech, because you'll see how that plays out when he talks.
57
So let's listen to the first line.
58
Pay close attention to the pitch, the music of his voice.
59
Who are you talking to right now?
60
Who are you talking to right now?
61
Who are you talking to right now?
62
Let's play it again.
63
Who are you talking to right now?
64
Who are you talking to right now?
65
Every word or even every syllable gets a different note.
66
Da, da, da, da, da, da, da, da, da.
67
And I want you to notice that the word that has the highest pitch is the word that is most stressed.
68
Who are you talking to right now?
69
Who do you think you are?
70
Right?
71
That's the attitude.
72
Who are you talking to right now?
73
Right?
74
Something about the pitch, the intonation, and the quality of his voice means that there is something not genuine about it.
75
He's a little condescending.
76
Who is it you think you see?
77
Who is it you think you see?
78
So really try to kind of like surrender to playing music with your voice while speaking.
79
Who is it you think you see?
80
Who is it you think you see?
81
Let's listen to him in slow motion.
82
Who is it you think you see?
83
Now say it.
84
Now really try to go from who is it you think you see?
85
You might be saying it on the same note.
86
And now we're trying to open it up.
87
Who is it you think you see?
88
Do you know how much I make a year?
89
Do you know how much I make a year?
90
Okay, so we have a lot of peaks here.
91
Do you know how much I make a year?
92
Much make year.
93
Of course, we have the no at the beginning.
94
No, much make year, right?
95
Even though we might not pay attention to those small words, they're less important, they're there, we understand the message.
96
Do you know how much I make a year?
97
Try it.
98
Good.
99
I mean, even if I told you, you wouldn't believe it.
100
I mean, I mean, I mean, that phrase is very common in American English and the way it's said is usually the same.
101
Flat.
102
I mean, pitch is up, stays up in the air because something else is coming up.
103
I mean, even if I told you, even if I told you,
104
right, that is also a very common pattern of intonation… say it with me… even told,
105
even told, even told even
106
if I told you you wouldn't believe it… wouldn't believe… even told wouldn't believe… even told wouldn't believe… even
107
if I told you wouldn't believe it… even if I told you you wouldn't believe…
108
So the stressed words are higher in pitch and a little longer and everything else comes together and becomes smaller and softer.
109
By the way, if you want to learn more about intonation, pitch, rhythm, stress, connected speech and phrasing,
110
and how all of that is designed to serve the meaning and make you sound more expressive, make sure you sign up for my free masterclass
111
and you're going to learn all the things you usually don't learn in school.
112
Let's play it one more time.
113
Even if I told you, you wouldn't believe it.
114
Even if I told you, you wouldn't believe it.
115
Let's continue.
116
Do you know what would happen if I suddenly decided to stop going into work?
117
Do you know what would happen if I suddenly decided to stop going into work.
118
So here the pitch is not that varied, even though we do hear some variation there.
119
Do you know what would happen, right?
120
When people ask questions, you have that pitch lift at the beginning.
121
Do you know what would happen if I suddenly decided to stop going into work?
122
Okay, so I'm going to play it again.
123
You're going to say it again.
124
Pay close attention to the stressed words, okay?
125
So that you'll be able to use length and a little bit of pitch to emphasize them.
126
Do you know what would happen if I suddenly decided to stop going into work?
127
A business big enough that it could be listed on the NASDAQ goes belly up.
128
A business.
129
So notice how he articulates every single sound here when people want to explain something to other people.
130
usually when they're a little angry or frustrated or they want to make a point, then all of a sudden the consonants become very strong.
131
A business big enough that it could be listed on the NASDAQ.
132
So again, a business, do it with me, big enough that it could be listed, that it could be, that it could be,
133
that it could be, that it could be listed on the NASDAQ, on the stock market, on the NASDAQ.
134
Goes belly up.
135
Goes belly up.
136
Belly up is fails or disappears.
137
Okay, it's like a very informal idiom.
138
Let's listen to it again.
139
I'm going to play it.
140
You're going to repeat it.
141
A business big enough that it could be listed on the NASDAQ goes belly up. And let's continue.
142
Disappears.
143
Disappears.
144
One word, three syllables, three notes.
145
Dis-sa-pears.
146
Disappears.
147
This proves my point that in English, every syllable has a different note, slightly higher, slightly lower than the previous one.
148
You either go up the stairs or go down the stairs.
149
But the peak of the stairs, at the peak, you have the words that you want to stress.
150
You have the words that you want to stress.
151
See what I did here?
152
Let's continue.
153
It ceases to exist without me.
154
It ceases to exist without me.
155
It ceases to exist without me.
156
So here, let's focus on length.
157
Ceases, exist, without.
158
It ceases to exist without me.
159
I'm going to play it, and then you're going to repeat it.
160
It ceases to exist without me.
161
Now you?
162
Good.
163
Let's continue.
164
The pressure, the tension.
165
No, you clearly don't know who you're talking to, so let me clue you in.
166
No, no. You clearly don't know who you're talking to.
167
So English is legato.
168
Usually you connect words together, everything flows together, but then when something is very abrupt or you want to spell it out in a way, then you go staccato.
169
Now, as a side note, I want to tell you
170
that a lot of times non-NATO speakers of English might actually switch to speaking in a more staccato quality
171
because they want to separate the words so they sound clearer.
172
In fact, that makes them sound less clear.
173
So just so you know, connecting words together is a good thing.
174
But sometimes separating them, or almost separating them, or emphasizing every single word is a way to convey something,
175
especially when you're really kind of like passionate or even angry in regards to what you want to say.
176
So let's listen to it again and then shadow it.
177
No, you clearly don't know who you're talking to, so let me clue you in.
178
So you clearly don't know who you're talking to.
179
do it with me you clearly don't know who you're talking to
180
so let me clue you in let me share with you
181
some inside information let me tell you the the secret that you probably don't know but i know
182
let me clue you in clue you in i am not
183
in danger skylar i am the danger i am not in danger skylar I am the danger.
184
You can add that raspy quality to your voice.
185
I am not.
186
I'm not going to do it because I don't want to ruin my voice.
187
But if you feel comfortable doing it, you can.
188
I am not in danger, Skylar.
189
I am not in danger, Skylar.
190
Again, every syllable we hear a different I am not in danger.
191
I am the danger.
192
Usually when you have a phrase that starts with I am, you would emphasize the I.
193
I'm the danger.
194
But he wants to put emphasis on the fact on him being the danger.
195
So he stresses am.
196
I am the danger.
197
I'm going to play it again and then have you repeat it one more time.
198
I am not in danger, Skylar.
199
I am the danger.
200
Now you.
201
Good.
202
A guy opens his door and gets shot and you think that of me?
203
A guy opens his door.
204
A guy opens his door.
205
We drop the H so we can connect it.
206
A guy opens his door.
207
Here he goes a little faster.
208
He connects all the words together.
209
and gets shot and gets shot and and small and gets shot and you think that of me
210
a guy opens his door and gets shot and you think that of me
211
a little faster a guy opens his door and gets shot and you think that of me
212
let's play it one more time and then you
213
a guy opens his door and gets shot and you think of me now you Good.
214
And one last line.
215
No. I am the one who knocks.
216
No. No. Certain.
217
Abrupt.
218
No. I am the one who knocks.
219
I am, again, am, am, am.
220
I am the one who knocks.
221
Okay, it's kind of like he raises his pitch and drops it.
222
I am the one who knocks.
223
Good.
224
Now let's try it again from beginning to the end.
225
I'm going to play it line by line and you will repeat it now that you know everything.
226
So get into character and let's get started.
227
Who are you talking to right now?
228
Who is it you think you see?
229
Do you know how much I make a year?
230
I mean, even if I told you, you wouldn't believe it.
231
Do you know what would happen if I suddenly decided to stop going into work?
232
A business big enough that it could be listed on the Nasdaq goes belly up.
233
Disappears.
234
It ceases to exist without me.
235
No, you clearly don't know who you're talking to, so let me clue you in.
236
I am not in danger, Skylar.
237
I am the danger.
238
A guy opens his door and gets shot, and you think that of me?
239
Now, I am the one who knocks.
240
All right.
241
Very good.
242
You did a great job.
243
Now I need you to kind of like burn sage or something to remove all that negative energy out of you.
244
And after that, you can go and shadow Barbie and the White Lotus
245
right below all the links to other shadowing exercises or Wednesday.
246
Or you can find them below and kind of like do something a little lighter.
247
So I hope you learned something about pitch and about rhythm
248
and how they can help you communicate a message and
249
that you found it valuable just to play with your voice and your intention.
250
And if you have a specific scene from a movie or a TV show that you'd like me to shadow, let me know in the comments.
251
Have a beautiful, beautiful rest of the week, and I'll see you next week in the next video.
252
Bye!
About This Lesson
In this English speaking practice lesson, you will engage in effective shadow speak techniques using an iconic scene from the show Breaking Bad. By employing the shadowing method, you will work on refining your intonation, pronunciation, and rhythm. You'll specifically focus on two key elements of prosody: pitch (the frequency of your voice) and rhythm (the pattern of sounds in speech). This exercise not only aids in enhancing your expressive flow in English but also contributes to a clearer communication style that conveys your messages effectively.
Key Vocabulary & Phrases
- Pitch - The highness or lowness of your voice while speaking.
- Rhythm - The pattern of sounds in speech, including pauses and intonation.
- Prosody - The aspects of speech that go beyond individual sounds, involving tone, pitch, and rhythm.
- Shadowing - A technique where you repeat what a speaker says, either simultaneously or in segments.
- Expressive flow - The smooth and natural progression of speech that conveys emotion and intent.
- Confidence - The assurance that you exhibit while speaking, which can be improved through practice.
Practice Tips
To get the most out of your shadowspeak practice, here are some tailored tips:
- Listen Actively: First, listen to the entire scene to get a sense of the emotions and tone. Pay attention to how the characters express their feelings through pitch and rhythm.
- Pace Yourself: The dialogue in Breaking Bad can be intense. Don’t rush your shadowing practice; ensure that you mimic the speed of the characters while gradually building your confidence in your pronunciation.
- Focus on Pitch and Rhythm: As you practice, make a conscious effort to match the highs and lows of the speakers’ voices. This will help you convey the correct emotions and messages when you speak.
- Use Pauses: Pause after each line during your practice to replicate the rhythm of speech. This will give you time to think about your intonation and how you can improve your flow.
- Record Yourself: Listen to your own voice after you've practiced shadowing to identify areas for improvement. This will also help you track your progress over time.
By following these tips and immersing yourself in this shadowing site, you will strengthen your English speaking practice while enjoying memorable scenes from Breaking Bad. Embrace the challenge and channel your inner actor for an engaging learning experience!
What is the Shadowing Technique?
Shadowing is a science-backed language learning technique originally developed for professional interpreter training and popularized by polyglot Dr. Alexander Arguelles. The method is simple but powerful: you listen to native English audio and immediately repeat it out loud — like a shadow following the speaker with just a 1–2 second delay. Unlike passive listening or grammar drills, shadowing forces your brain and mouth muscles to simultaneously process and reproduce real speech patterns. Research shows it significantly improves pronunciation accuracy, intonation, rhythm, connected speech, listening comprehension, and speaking fluency — making it one of the most effective methods for IELTS Speaking preparation and real-world English communication.