Prática de Shadowing: cam14 test 3 - Aprenda a falar inglês com vídeo
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Section 1.
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You will hear a man phoning the customer services manager of a hotel to get information about holding a conference there.
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First, you have some time to look at questions 1 to 5.
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You will see that there is an example that has been done for you.
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On this occasion only, the conversation relating to this will be played first.
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Hello, Flanders Conference Hotel.
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Oh, hi.
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I wanted to ask about conference facilities at the hotel.
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Have I come through to the right person?
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You have.
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I'm the Customer Services Manager.
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My name's Angela.
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The name of the customer services manager is Angela.
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So Angela has been written in the space.
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Now we shall begin.
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You should answer the questions as you listen because you will not hear the recording a second time.
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Listen carefully and answer questions 1 to 5.
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Hello, Flanders Conference Hotel.
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Oh, hi.
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I wanted to ask about conference facilities at the hotel.
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Have I come through to the right person?
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Mm -hmm, you have.
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I'm the customer services manager.
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My name's Angela.
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So, how can I help you?
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Well, I'm calling from Barrett & Stansons.
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We're a medical company based in Perth.
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Oh, yes?
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And we're organising a conference for our clients to be held in Sydney.
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It'll be held over two days and we're expecting about 50 or 60 people.
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When were you thinking of having it?
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Sometime early next year, like the end of January.
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It'd have to be a weekend.
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Ah, let me see.
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Our conference facilities are already booked for the weekend beginning January the 28th.
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We could do the first weekend in February.
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How about January the 21st?
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Ah, I'm afraid that's book two.
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Well, let's go for the February date then.
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So, that's the weekend beginning the 4th.
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OK.
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Now, can you tell me a bit about what conference facilities you have?
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Sure.
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So, for talks and presentations, we have the Tesla Room.
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Sorry?
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Tesla.
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That's spelled T -E -S -L -A.
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It holds up to 100 people and it's fully equipped with a projector and so on.
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How about a microphone?
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Yes, that'll be all set up ready for you.
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And there'll be one that members of the audience can use too, for questions if necessary.
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Fine.
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And we'll also need some sort of open area where people can sit and have a cup of coffee.
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And we'd like to have an exhibition of our products and services there as well.
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So that'll need to be quite a big space.
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Mm -hmm.
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That's fine.
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There's a central atrium with all those facilities.
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And you can come before the conference starts if you want to set everything up.
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Great.
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And I presume there's Wi -Fi?
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Oh yes, that's free and available throughout the hotel.
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Okay.
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Would you also like us to provide a buffet lunch?
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We can do a two -course meal with a number of different options.
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What sort of price are we looking at for that?
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Well, I can send you a copy of the standard menu.
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That's $45 per person.
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Or you can have the special for $25 more.
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I think the standard should be OK, but yes, send me the menu.
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Before you hear the rest of the conversation, you have some time to look at questions 6 to 10.
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Thank you.
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Now listen and answer questions 6 to 10.
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Now we're also going to need accommodation on the Saturday night for some of the participants.
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I'm not sure how many, but probably about 25.
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So what do you charge for a room?
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Well, for conference attendees, we have a 25 % reduction.
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So we can offer you rooms at $135.
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Normally a standard room's $180.
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And does that include breakfast?
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Sure.
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And of course, guests can also make use of all the other facilities at the hotel.
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So we've got a spa where you can get massages and facials and so on.
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And there's a pool up on the roof for the use of guests.
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Oh, great.
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Now, what about transport links?
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The hotel's downtown, isn't it?
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Yes.
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It's about 12 kilometres from the airport, but there's a complimentary shuttle bus for guests,
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and it's only about 10 minutes' walk from the central railway station.
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OK.
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Now, I don't know Sydney very well.
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Can you just give me an idea of the location of the hotel?
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Ah, well, it's downtown on Wilby Street.
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That's quite a small street and it's not very far from the sea.
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And of course, if the conference attendees want to go out on their Saturday evening, there's a huge choice of places to eat.
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Then, if they want to make a night of it, they can go on to one of the clubs in the area.
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There are a great many to choose from.
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Okay, so if we go ahead with this, can you give me some information about how much we're looking at?
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That is the end of section one.
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You now have half a minute to check your answers.
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Now turn to section 2.
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Section 2.
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You will hear a woman talking to a group of college students about volunteering to help other people.
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First, you have some time to look at questions 11 to 14.
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Now listen carefully and answer questions 11 to 14.
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Good morning, my name's
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Lucy Crittenden and I'm the Director of Operations for an organisation that arranges volunteering in this part of the country.
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I'm hoping I can persuade one or two of you to become volunteers yourselves.
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Let me start by briefly explaining what we mean by volunteering.
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Volunteers are teenagers and adults who choose to spend some time unpaid helping other people in some way.
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Most volunteers devote two or three hours to this every week, while a few do much more.
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The people they help may have physical or behavioural difficulties, for example.
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volunteers can do all sorts of things depending on their own abilities and interests
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if they're supporting a family that's struggling for example they may be able to give them tips on cooking
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or recommend how to plan their budget
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or how to shop sensibly on their income they might even do some painting
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or wallpapering perhaps alongside any members of the family who were able to do it
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or even do some babysitting so the parents can go out for a while.
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The benefit from volunteering isn't only for the people being helped.
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Volunteers also gain from it.
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They're using their skills to cope with somebody's mental or physical ill health.
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And volunteering may be a valuable element of their CV when they're applying for jobs.
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employers usually look favourably on someone who's given up time to help others.
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Significantly, most volunteers feel that what they're doing gives them a purpose in their lives, and in my opinion, they're lucky in that respect,
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as many people don't have that feeling.
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Before you hear the rest of the talk, you have some time to look at questions 15 to 20.
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Thank you.
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Now listen and answer questions 15 to 20.
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Now I'd like to tell you what some of our volunteers
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have said about what they do to give you an idea of the range of ways in which they can help people.
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Habib supports an elderly lady who's beginning to show signs of dementia.
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Once a week they, along with other elderly people, go to the local community centre where a group of people come in and sing.
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The songs take the listeners back to their youth
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and for a little while they can forget the difficulties that they face now.
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Our volunteer Consuela is an amazing woman.
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She has difficulty walking herself but she doesn't let that stop her.
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She helps a couple of people with similar difficulties who had almost stopped walking altogether.
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By using herself as an example, Consuela encourages them to walk more and more.
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Min visits a young man who lives alone and can't leave his home on his own, so he hardly ever saw anyone.
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But together they go out to the cinema
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or to see friends the young man hadn't been able to visit for a long time.
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Tanya visits an elderly woman once a week.
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When the woman found out that Tanya is a professional dressmaker, she got interested.
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Tanya showed her some soft toys she'd made and the woman decided to try it herself.
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And now she really enjoys it and spends hours making toys.
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They're not perhaps up to Tanya's standard yet, but she gains a lot of pleasure from doing it.
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Alexi is a volunteer with a family that faces a number of difficulties.
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By calmly talking over possible solutions with family members,
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he's helping them to realise that they aren't helpless and that they can do something themselves to improve their situation.
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This has been great for their self -esteem.
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And the last volunteer I'll mention, though there are plenty more, is Juba.
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She volunteers with a teenage girl with learning difficulties who wasn't very good at talking to other people.
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Juba's worked very patiently with her, and now the girl is far better at expressing herself and at understanding other people.
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OK, I hope that's given you an idea of what volunteering is all about.
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Now I'd like to talk to you about...
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That is the end of Section 2.
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You now have half a minute to check your answers.
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Now turn to section 3.
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Section 3 You will hear a trainee music teacher called Joe talking to his supervisor about the school marching band
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that he has been given responsibility for.
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First, you have some time to look at questions 21 to 26.
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Thank you.
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Now listen carefully and answer questions 21 to 26.
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So, how are you getting on with your teaching practice at the high school, Joe?
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Well, I've been put in charge of the school marching band, and it's quite a responsibility.
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I'd like to talk it over with you.
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Go ahead.
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You better start by giving me a bit of background.
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Okay.
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Well, the band has students in it from all years, so they're aged 11 to 18, and there are about 50 of them altogether.
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It's quite a popular activity within the school.
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I've never worked with a band of more than 20 before, and this is very different.
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I can imagine.
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They aren't really good enough to enter national band competitions, but they're in a regional one later in the term.
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Even if they don't win, and I don't expect them to, hopefully it'll be an incentive for them to try and improve.
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Yes, hopefully.
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Well, now the town council's organizing a carnival in the summer, and the band has been asked to perform.
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If you ask me, they aren't really up to it yet,
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and I need to get them functioning better as a band and in a very short time.
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Have you been doing anything with them?
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Apart from practicing the music, I mean.
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I played a recording I came across of a drummer talking about how playing in a band had changed his life.
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I think it was an after -dinner speech.
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I thought it was pretty inspiring, because being in the band had stopped him from getting involved in crime.
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The students seem to find it interesting, too.
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That's good.
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I'm planning to show them that old film from the 1940s, Strike Up the Band, and talk about it with the students.
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What do you think?
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Good idea.
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As it's about a school band, it might make the students realize how much they can achieve if they work together.
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That's what I've got in mind.
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I'm hoping I can take some of the band to a parade that's going to take place next month.
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A couple of marching bands will be performing, and the atmosphere should be quite exciting.
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It depends on whether I can persuade the school to hire a coach or two to take us there.
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Hmm.
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They sound like good ideas to me.
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Thanks.
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Before you hear the rest of the discussion, you have some time to look at questions 27 to 30.
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Now listen and answer questions 27 to 30.
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Can I tell you about a few people in the band who I'm finding it quite difficult to cope with?
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I'm sure you'll have some ideas about what I can do.
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Go ahead.
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There's a flautist who says she loves playing in the band.
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We rehearse twice a week after school, but she's hardly ever there.
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Then she looks for me the next day and gives me a very plausible reason.
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She says she had to help her mother or she's been ill, but to be honest, I don't believe her.
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Oh dear.
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Any more students with difficulties?
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Plenty.
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Uh, there's a trumpeter who thinks she's the best musician in the band, though she certainly isn't.
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She's always saying what she thinks other people should do, which makes my job pretty difficult.
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She sounds a bit of a nightmare.
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You can say that again.
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One of the trombonists has got an impressive sense of rhythm and could be an excellent musician,
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except that he has breathing difficulties and he doesn't really have enough breath for the trombone.
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He'd be much better off playing percussion, for instance, but he refuses to give up, so he ends up only playing half the notes.
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I suppose you have to admire his determination.
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Maybe.
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One of the percussionists isn't too bad, but he never seems to interact with other people,
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and he always rushes off as soon as the rehearsal ends.
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I don't know if there are family reasons or what, but it isn't good in a band,
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where people really need to feel they're part of a group.
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Hmm.
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There are others, too, but at least that gives you an idea of what I'm up against.
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Do you have any thoughts about what I can do, Lizzie?
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That is the end of Section 3.
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You now have half a minute to check your answers.
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Now turn to section 4.
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Section 4.
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You will hear a British University lecturer in music talking about concerts in an arts festival.
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First, you have some time to look at questions 31 to 40.
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Thank you.
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Now listen carefully and answer questions 31 to 40.
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As you all know, the university is planning an arts festival for later this year,
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and here in the music department we've planned three concerts.
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These will be public performances, and the programme has just been finalised.
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The theme of the festival is links between the UK and Australia, and this is reflected in the music.
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Each concert will feature both British and Australian composers.
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I'll tell you briefly about the Australian music, as you probably won't be familiar with that.
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The first concert will include music by Liza Lim, who was born in Perth, Western Australia, in 1966.
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As a child, Lim originally learned to play the piano, like so many children, and also the violin.
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But when she was eleven, her teachers encouraged her to start composing.
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She found this was her real strength, and she studied and later taught composition,
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both in Australia and in other countries.
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As a composer, she has received commissions from numerous orchestras, other performers, and festivals in several countries.
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Liza Lim's compositions are vibrant and full of energy,
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and she often explores Asian and Australian Aboriginal cultural sources, including the native instrument the didgeridoo.
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This is featured in a work called The Compass.
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Her music is very expressive, so although it is complex,
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it has the power of connecting with audiences and performers alike.
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In the festival, we're going to give a semi -staged performance of the Oresteia.
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This is an opera in seven parts, based on the trilogy of ancient
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Greek tragedies by Aeschylus.
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Lim composed this when she was in her mid -twenties, and she also wrote the text, along with Barry Kosky.
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It's performed by six singers, a dancer, and an orchestra that, as well as standard orchestral instruments,
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includes electric guitar and a traditional
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Turkish stringed instrument.
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Lim wrote that because the stories in the tragedies are not easy to tell.
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The sounds she creates are also disturbing, and they include breathing, sobbing, laughing, and whistling.
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The work lasts around 75 minutes,
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and the rest of the concert will consist of orchestral works by the British composers Rafe Vaughan Williams and Frederick Delius.
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Moving on now to our second concert.
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This will begin with instrumental music by British composers, Benjamin Britton and Judith Weir.
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After the interval, we'll go to Australia for a piece by Ross Edwards, The Tower of Remoteness.
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According to Edwards, the inspiration for this piece came from nature, when he was sitting alone in the dry bed of a creek,
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overshadowed by the leaves of palm trees, listening to the birds and insects.
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The Tower of Remoteness is scored for piano and clarinet.
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Edwards says he realised years after writing the piece that he had subconsciously modelled its opening phrase on a bird call.
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Ross Edwards was born in 1943 in Sydney,
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Australia, and studied at the Sydney Conservatorium of Music and the Universities of Adelaide and Sydney.
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He's well known in Australia, and in fact he's one of the country's most performed composers.
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He's written a wide range of music, from symphonies and concertos to some composed specifically for children.
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Edwards' music has been described as being deeply connected to Australia,
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and it can be regarded as a celebration of the diversity of cultures that Australia can be proud of.
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The last of the three Australian composers to be represented in our festival is Carl Vine.
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Born in 1954, Vine, like Liza Lim, comes from Perth, Western Australia.
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He took up the cornet at the age of five, switching to the piano five years later.
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However, he went to university to study physics before changing to composition.
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After graduating, he moved to Sydney and worked as a freelance pianist and composer.
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Before long, he had become prominent in Australia as a composer for dance,
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and in fact has written 25 scores of that type.
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In our third concert, Vine will be represented by his music for the flag handover ceremony of the Olympics held in 1996.
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This seven -minute orchestral piece was of course heard by millions of people worldwide,
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and we'll hear it alongside works written by British composers Edward Elgar and, more recently, Thomas Ades.
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That is the end of Section 4.
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You now have half a minute to check your answers.
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Thank you.
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In the IELTS test, you would now have 10 minutes to transfer your answers to the answer sheet.
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Thank you.
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Thank you.
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Thank you.
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Thank you.
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Thank you.
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Thank you.
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Thank you.
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Thank you.
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Thank you.
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Thank you.
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Thank you.
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Thank you.
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Vocabulário e dicas de fala para esta lição
Esta aula de conversação usa o vídeo “cam14 test 3”. As palavras que mais se repetem: band, questions, answer. Este vídeo tem 301 frases e 3095 palavras para praticar shadowing. A fala dura 34:28. O falante fala devagar, cerca de 90 palavras por minuto, o que dá tempo para imitar cada som. 84% 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 |
|---|---|---|
| volunteer substantivo | /ˌvɑlənˈtɪɹ/ | voluntário |
| composer substantivo | /kəmˈpoʊzəɹ/ | compositor, criador |
| difficulty substantivo | /ˈdɪfɪkəlti/ | dificuldade |
| carefully advérbio | /ˈkɛɹf(ə)li/ | cuidadosamente, cautelosamente |
| composition substantivo | /ˌkɑm.pəˈzɪʃ.ən/ | composição |
| piano substantivo | /piˈænɪː/ | piano |
| instrument substantivo | /ˈɪnstɹəmənt/ | instrumento, aparelho |
| elderly adjetivo | /ˈɛldɚli/ | idoso, idosa |
| alongside | /əˌlɔŋˈsaɪd/ | junto a, juntamente com |
| encourage verbo | /ɪnˈkʌɹ.ɪd͡ʒ/ | encorajar, incentivar |
| downtown substantivo | /ˈdaʊ̯nˌtaʊ̯n/ | centro, baixa |
| toy substantivo | /tɔɪ/ | brinquedo |
| breathe verbo | /bɹiːð/ | respirar |
| menu substantivo | /ˈmɛn.juː/ | cardápio, menu |
| tragedy substantivo | /ˈtɹæd͡ʒ.ɪ.di/ | tragédia |
Phrasal verbs que você vai ouvir
| Palavra | Pronúncia | Significado |
|---|---|---|
| give up verbo | render-se | |
| go ahead verbo | /ˌɡoʊ əˈhɛd/ | vai em frente |
| end up verbo | terminar, acabar | |
| find out verbo | descobrir | |
| get on with verbo | andar logo com | |
| set up verbo | /ˌsɛt ˈʌp/ | preparar |
Frases que vale a pena repetir
Frases curtas e completas do vídeo que você pode usar na conversa do dia a dia:
- Have I come through to the right person?
- I'm the customer services manager.
- When were you thinking of having it?
- Ah, I'm afraid that's book two.
- Have you been doing anything with them?
Gramática neste vídeo
As estruturas que o falante mais usa, com as palavras exatas do vídeo:
| Estrutura | No vídeo |
|---|---|
| Present perfect have/has + particípio passado — uma ação passada que ainda importa agora | has been done · Have I come · has been written |
| Voz passiva be + particípio passado — o foco está no que acontece, não em quem faz | has been done · will be played · has been written |
Pronúncia para ficar de olho
O falante usa 70 contrações e formas reduzidas, como I'm, they're, don't. Diga-as na forma curta, do jeito que você ouve.
- Os sons de “th”: breathe /bɹiːð/, altogether /ɔl.tuˈɡɛð.ɚ/, rhythm /ˈɹɪð.əm/
- Os sons de “sh” e “zh”: composition /ˌkɑm.pəˈzɪʃ.ən/, musician /mjuˈzɪʃən/, rush /ɹʌʃ/, inspiration /ˌɪn.spɪˈɹeɪ.ʃən/, sheet /ʃit/
- Palavras longas — acerte a sílaba tônica: difficulty /ˈdɪfɪkəlti/, composition /ˌkɑm.pəˈzɪʃ.ən/, altogether /ɔl.tuˈɡɛð.ɚ/, ceremony /ˈsɛɹ.əˌmoʊ.ni/, inspiration /ˌɪn.spɪˈɹeɪ.ʃən/
Sons difíceis para falantes de português:
- Consoante final — sem acrescentar um “i” depois: instrument /ˈɪnstɹəmənt/, alongside /əˌlɔŋˈsaɪd/, persuade /pə(ɹ)ˈsweɪd/, element /ˈɛləmənt/, sheet /ʃit/
- /l/ final — a língua toca o céu da boca, não vira “u”: meal /ˈmiːl/, spell /spɛl/, facial /ˈfeɪ.ʃəl/, instrumental /ɪnstɹəˈmɛntəl/, shuttle /ˈʃʌtəl/
- /h/ — um sopro suave, diferente do “r”: hire /ˈhaɪɹ/, helpless /ˈhɛlplɪs/, rehearsal /ɹɪˈhɝsl̩/, behavioural /bɪˈheɪvjɚəl/, handover /ˈhændˌoʊvɚ/
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 volunteer, composer, difficulty.
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.