Prática de Shadowing: Andrew Ford talks about The Waltz Book, part 1 - Aprenda a falar inglês com vídeo

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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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Vocabulário e dicas de fala para esta lição

Esta aula de conversação usa o vídeo “Andrew Ford talks about The Waltz Book, part 1”. As palavras que mais se repetem: piece, waltzes, waltz, writing, tile. Este vídeo tem 56 frases e 774 palavras para praticar shadowing. A fala dura 5:50. O falante mantém um ritmo estável de cerca de 133 palavras por minuto, confortável para o shadowing. 86% das palavras estão entre as 3.000 mais comuns do inglês; vale a pena estudar o restante antes de começar.

Vocabulário principal deste vídeo

15 palavras do vídeo que vale a pena aprender, com pronúncia e significado:

Palavra	Pronúncia	Significado
tile substantivo	/ˈtaɪ.əl/	azulejo, ladrilho
slot substantivo	/slɑt/	fenda, ranhura
mosaic substantivo	/moʊˈzeɪ.ɪk/	mosaico
chart substantivo	/t͡ʃɑɹt/	carta náutica
occur verbo	/əˈkɜː/	ocorrer, acontecer
select verbo	/sɪˈlɛkt/	escolher, selecionar
experiment substantivo	/ɪkˈspɛɹ.ə.mənt/	experimento, experiência
partly advérbio	/ˈpɑɹtli/	em parte
differently advérbio	/ˈdɪf.ə.ɹənt.li/	diferentemente
attract verbo	/əˈtɹækt/	atrair
depend verbo	/dɪˈpɛnd/	depender
notion substantivo	/ˈnoʊʃən/	noção, idéia
pause substantivo	/pɔːz/	pausa
speculation substantivo	/ˌspɛk.jəˈleɪ.ʃən/	especulação
intricate adjetivo	/ˈɪn.tɹɪ.kət/	intrincado

Phrasal verbs que você vai ouvir

Palavra	Pronúncia	Significado
come back verbo		voltar
draw up verbo		lavrar
make up verbo	/ˌmeɪk ˈʌp/	compensar

Pronúncia para ficar de olho

O falante usa 10 contrações e formas reduzidas, como you've, I'd, don't. Diga-as na forma curta, do jeito que você ouve.

Os sons de “sh” e “zh”: notion /ˈnoʊʃən/, speculation /ˌspɛk.jəˈleɪ.ʃən/
Palavras longas — acerte a sílaba tônica: experiment /ɪkˈspɛɹ.ə.mənt/, differently /ˈdɪf.ə.ɹənt.li/, speculation /ˌspɛk.jəˈleɪ.ʃən/

Sons difíceis para falantes de português:

Consoante final — sem acrescentar um “i” depois: slot /slɑt/, mosaic /moʊˈzeɪ.ɪk/, chart /t͡ʃɑɹt/, select /sɪˈlɛkt/, experiment /ɪkˈspɛɹ.ə.mənt/
s + consoante no início — sem um “i” antes: slot /slɑt/, spare /spɛɚ/, speculation /ˌspɛk.jəˈleɪ.ʃən/

Como praticar com este vídeo

Ouça o vídeo inteiro uma vez sem falar e anote as palavras que você não conhece.
Faça shadowing frase por frase na velocidade normal, repetindo cada uma até o seu ritmo ficar igual ao do falante.
Grave a sua voz e compare com o original, prestando atenção a palavras como tile, slot, mosaic.

O que é a Técnica de Shadowing?

Shadowing é uma técnica de aprendizado de idiomas com base científica, originalmente desenvolvida para o treinamento de intérpretes profissionais. O método é simples, mas poderoso: você ouve áudio em inglês nativo e repete imediatamente em voz alta — como uma sombra seguindo o falante com 1-2 segundos de atraso. Pesquisas mostram melhora significativa na precisão da pronúncia, entonação, ritmo, sons conectados, compreensão auditiva e fluência na fala.

Técnica de shadowing: leia o guia completo passo a passo →