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We're deep into fall

and this time of year always makes me want to cozy up with a good rom -com or romantic comedy.

So today we're going to take a short scene from the classic movie

You've Got Mail and do a full analysis of the American English pronunciation.

Words that link together.

Words where a sound is dropped or changes.

How do Americans speak so quickly? this is how.

And studying this will improve your listening skills and your American English accent.

First, the scene.

If you haven't seen this movie, it's about the very early days of meeting someone on the internet.

Will you be mean to him too?

No, I will not.

Because the man who is coming here tonight is completely unlike you.

The man who is coming here tonight is kind and funny.

He's got the most wonderful sense of humor.

But he's not here.

Well if he's not here he has a reason because there is not a cruel or careless bond in his body.

Now the analysis.

Will you be mean to him too?

Okay we start off with the yes no question and he follows the exact format vocally

melodically for a yes no question and

that is his pitch goes up towards the end of the

phrase in american english almost every phrase goes down except for

yes no questions will you be mean to him too will

you be mean to him too will you be mean to him too will you be mean to him to.

I hear two longer words there.

They're mean and to.

Will you be mean?

Will you be?

Those words are said very quickly. Will you be?

Will you be?

Mean has more length and has a pitch change.

In this case, it's going down and up because we're on our way up.

Will you be mean to him too?

And then to also has that scoop down and then back up.

So to and mean are our stressed words here.

In American English, we have a contrast between stressed words and unstressed words that is very important for being understood.

Stress words are going to be longer, a little bit louder.

They'll have a pitch change, either a scoop up or a up and down shape.

Will you be mean to him too?

Unstressed syllables are going to be shorter, flatter in pitch, a little bit quieter.

And that's very important for understandability, the difference between stressed and unstressed syllables.

will you be will you be will you be

so our first three words are will you be will you

be will you be will you be will you be will you be

so it's not will it's more like will will i would write

that w and then i think i would write that with schwa l for the dark l but it said very quickly

The dark L takes over the schwa sound, so don't try to make a vowel and a consonant.

It's just the dark L sound, ull, ull, ull, ull, ull, ull, ull, ull, ull, ull, ull, ull, which is very vowel -like,

ull, ull, will you be, will you be?

Will you be, will you be, will you be, will you be?

You said so quickly, you, you, you, you.

B also said so quickly.

B, B, B, B.

Hear how my voice is quieter?

You be, you be, you be, you be.

And the pitch is flatter.

It's also lower.

Will you be, will you be, will you be?

And then it starts to rise.

Will you be mean?

And now this word stretches out.

It's got more length.

We've got that E vowel and that's where the voice scoops down and up.

Will you be mean?

I'm Rachel, and I'm a former opera singer who has been teaching the American accent for over two decades.

Helping you feel confident speaking English is absolutely my passion.

Please check out rachelsenglishacademy .com, or scan this QR code, where you can learn about my online accent training courses,

and studying with me.

That's rachelsenglishacademy .com.

Mean to him? So too!

Him.

Said quickly and not fully pronounced.

The word to is a word that usually reduces.

It's almost never pronounced with the OO vowel,

but instead the schwa, which is just basically no mouth position at all.

As relaxed as you can be.

The T consonant often changes to a D kind of sound when it comes, especially in this case, after an N, mean -da.

Mean -da -da -da -da -da -da.

It's a flap of the tongue.

So not tt, a release of air for a true T.

So mean to becomes mean -da, mean -da.

Mean to him too?

Here we do have a true T.

T, t, t.

So it's that crisp, clear release of air

and then the OO vowel where we have our length and our scoop of our pitch. To?

Mean to him too?

No, I will not.

100

No, I will not.

101

No. Okay, Okay, so her response?

102

Stressed.

103

Up, down, shape?

104

No. And it's one of the longer words.

105

No. It's not no, no, no. Which would be an unstressed version of that word.

106

No. This pitch change?

107

Really important for clarity.

108

No, I will not.

109

No, I will not.

110

No, I will not.

111

And she links everything together right from the O diphthong of no into the I diphthong of I.

112

It's smooth.

113

There's no break there between her words.

114

No, I will not.

115

And then she stresses not with the change in pitch scoop down and up.

116

No, I will not.

117

No, I will not.

118

No, I will not.

119

Now, I said when we go from down to up that that's almost always a yes -no question in American English.

120

That's true.

121

But it's also used in statements to show that we're going to keep going, that we have more to say about that.

122

And so she continues on about why.

123

Why she will not.

124

No, I will not.

125

No, I will not.

126

No, I will not.

127

No, I will not.

128

So, I and will, they don't really have a change in direction.

129

They're just part of the line connecting no and not.

130

I will, I will, I will, I will.

131

They're not I will, but I will, I will.

132

No, I will.

133

No, I will not.

134

So, these are the less important words here, the less clear words here.

135

You can say them more quickly and more simply.

136

I also want to point out this ending L is a dark L, and you don't need to lift your tongue tip for that.

137

You've probably learned for the L, you always lift your tongue tip, but that is not true for the dark L.

138

The dark L is made with the back of the tongue, and the tongue tip stays down for that.

139

I will.

140

I will.

141

My tongue is not lifting for that.

142

No, I will not.

143

It will lift for the N.

144

No, I will not.

145

She also ends her word not with the true T.

146

It's pretty common here when a word, a thought ends in a t to make a stop t.

147

No, I will not.

148

And you abruptly stop the air.

149

However, she doesn't do that.

150

She does release it into t, a true t sound.

151

And that's bringing even more stress to it.

152

She is sort of upset by his statement.

153

And so she has more emotion in her voice.

154

And that's why she's ending this t in a true t.

155

No, I will not.

156

No, I will not.

157

No, I will not.

158

Because the man who is coming here tonight is completely unlike you.

159

Then she has a pretty long thought group.

160

There are no breaks here.

161

Every word links together.

162

And when that happens, we call that a thought group.

163

When there's not a break in the spoken English.

164

And this is pretty long.

165

Everything links together.

166

Let's find our anchors, our words that are stressed, that are longer, that have that pitch change.

167

Because the man who is coming here tonight is completely unlike you.

168

Because the man who is coming here tonight is completely unlike you.

169

Because the man who is coming here tonight is completely unlike you.

170

Because the man who is coming here tonight.

171

Okay, so there we have, because the man, we have clearly more length there.

172

Because the man who is coming here tonight,

173

again, her pitch is going up with each of these stress words because she is not done with her thought.

174

This will have a statement intonation going down.

175

Let's listen.

176

Because the man who is coming here tonight is completely unlike you.

177

Because the man who is coming here tonight is completely unlike you.

178

Because the man who is coming here tonight is completely unlike you. Is completely unlike you.

179

And the pitch goes down.

180

Boom.

181

Statement.

182

Is completely unlike you.

183

Is completely unlike you.

184

Is completely unlike you.

185

So, we have man, come, night, as our stressed syllables,

186

and then le, like, as our stressed syllables coming down.

187

Because the man who was coming here tonight is completely unlike you.

188

Because the man who was coming here tonight is completely unlike you.

189

Because the man who was coming here tonight is completely unlike you.

190

So, because the.

191

These two words are not stressed.

192

They're said quickly.

193

Let's listen. Because the. Because the. Because the. Because the. Because the. Because the. Because the.

194

That's pretty fast. Because the. Because the.

195

Because the man.

196

Man.

197

Man.

198

Now, that has more length.

199

Man is the A vowel followed by the nasal consonant N.

200

And when that happens, it is not a pure A vowel, like in the word cat,

201

A, but it becomes A, A, the man.

202

So keep that in mind.

203

The tongue almost immediately starts relaxing into something like the A vowel, A.

204

The man, the man, the man, the man who was coming here tonight.

205

And then who is said quickly, who is, who is, who is, who is, who is, who is, who is.

206

He was, he was, he was coming here tonight.

207

Coming here tonight.

208

Now, this is a word that almost every non -native speaker of English mispronounces at first.

209

It's not tonight, to.

210

This is always a schwa, to.

211

And just like here with the word to, the T can actually change to something that sounds more like a D, and it does here.

212

It's not tonight, but it's tonight, tonight, here tonight, here, da, da, da, da, da.

213

It's a flap that helps the two words link together smoothly.

214

Here tonight.

215

Here tonight.

216

Here tonight.

217

Here tonight.

218

Here tonight.

219

Now let's look at the ending T of tonight.

220

It is doing something interesting.

221

Here the ending T was T, a true T.

222

It was the end of the thought group.

223

There was a pause.

224

But here she keeps right on going, linking into the next word, which is IS, beginning with the IH vowel.

225

So we have the word tonight.

226

Second syllable there has the N consonant, the I diphthong, and the T.

227

And one of the rules in American English is when the T comes between two vowel or diphthong sounds, So here it does.

228

The diphthong I and the vowel IH.

229

It's a flap T.

230

Almost always.

231

And that's used to link words together smoothly.

232

So tonight becomes here tonight is.

233

Here tonight is.

234

It's another flap linking into IH.

235

Here tonight is.

236

Here tonight is.

237

Here tonight is.

238

Here tonight is here tonight is completely unlike you is completely unlike you

239

so we have two stressed words there

240

but in our stress words only one syllable is stressed complete

241

and in this word it's the second word completely and that is a stop T it's not but it's completely.

242

And the phrase, the word unlike, second syllable stress.

243

Unlike.

244

And the second syllable is what has that up -down shape of stress.

245

Completely unlike you.

246

Completely unlike you.

247

Completely unlike you.

248

Completely unlike you.

249

The man who is coming here tonight is kind.

250

The man who is coming here tonight.

251

Okay, so one most stressed word there and it's our noun.

252

The man.

253

The man who is coming here tonight.

254

The man who is coming here tonight.

255

The man who is coming here tonight.

256

The man who is coming here tonight.

257

And both of those also scoop up and down more drama.

258

She's going to describe the man.

259

The man who is coming here tonight.

260

And also the second syllable of the word tonight is stressed.

261

So again, don't forget it's not man, but it's man.

262

The man, the man who is coming here tonight.

263

And we have who is coming here all said quickly.

264

Now let's Let's look at our word tonight.

265

The last time we heard it, it was pronounced with a flap, tonight, here tonight.

266

What about now?

267

The man who is coming here tonight, the man who is coming here tonight, the man who is coming here tonight, t, t, t, t, tonight.

268

She does do a true T there.

269

Why here and not the first time?

270

Not totally sure.

271

Both are common.

272

But the important thing is that the second sound is not ooh, but it's uh, uh, tuh, tuh, said quickly, tonight.

273

Tonight.

274

Tonight.

275

Tonight.

276

She also just barely separates tonight and is.

277

She does not link with a flap T.

278

This time it's a stop.

279

So what does that mean?

280

Both of these T's, this one staying a true T and this one staying a stop T, not flapping to connect.

281

Both of those make this word a little bit more stressed.

282

It stands out from the phrase just a little bit more.

283

Tonight.

284

Tonight.

285

Tonight is kind and funny.

286

Now we have a list.

287

And when we have a list, things go up in pitch, they go down and up,

288

kind and funny, until we get to the last one.

289

She's got the most wonderful sense of humor, and then her pitch goes down.

290

But as she's listing, it's uh, uh, scoop down and up.

291

Is kind and funny.

292

Is kind and funny.

293

Is kind and funny.

294

The word is said very quickly, unstressed, linking into the word kind. Is kind?

295

So, is is probably less than half as long as kind, but they're both one syllables.

296

That's the difference between unstressed and stressed. Is kind? Is kind?

297

is kind, is kind, and funny, and funny.

298

So, she holds on to the F a little bit more.

299

Again, that brings more stress.

300

Exaggerating the consonants a little bit brings more stress and emphasis.

301

Let's look at this less important word.

302

How is it pronounced? and funny,

303

and funny, and funny, and funny, and, and, and.

304

No D.

305

That's really common to drop the D in this word.

306

It's a reduction.

307

That means a sound changes or is dropped.

308

And that's something we do a lot with these words that are not stressed.

309

And funny, and funny, and funny.

310

He's got the most wonderful sense of humor.

311

He's got the most wonderful sense of humor.

312

Okay, so then we have two syllables that are much longer, much clearer, up -down shape of stress, and it's wonderful, and it's humor.

313

He's got the most.

314

Those four words are not pronounced nearly that clearly because they're unstressed.

315

He's got the most wonderful sense of humor.

316

He's got the most wonderful sense of humor.

317

He's got the most wonderful sense of humor.

318

He's got the most.

319

He's got the most.

320

Do you hear how that's flatter than wonderful?

321

He's got the most.

322

He's got the most.

323

Now she is laughing so it skips a little bit, but it's much flatter than one.

324

One.

325

Wonderful.

326

So really keep that in mind.

327

Flat pitch for unstressed syllables and quite a bit of pitch change for stressed syllables.

328

He's got them lost.

329

Also the T in got, that is not released as a true T, it's a stop T.

330

Got the, got the.

331

I'm Rachel and I'm a former opera singer who has been teaching the American accent for over two decades.

332

Helping you feel confident speaking English is absolutely my passion.

333

Please check out rachelsenglishacademy .com

334

or scan this QR code where you can learn about my online accent training courses and studying with me.

335

That's rachelsenglishacademy .com.

336

Let's look at the O in the word got.

337

It's going to be pronounced with an ah sound like in father.

338

In the word most, it's the O diphthong, like in go, most.

339

And in the word wonderful, it's the uh vowel, like in butter.

340

So in American English, it's so confusing because one letter can represent many different sounds.

341

And we really see that in got, uh, most, oh, wonderful, uh.

342

He's got the most wonderful.

343

He's got the most wonderful.

344

He's got the most wonderful sense of humor.

345

Sense of humor.

346

So sense is a little bit longer as well.

347

Sense of is so short.

348

Sense of humor.

349

Sense of humor.

350

Sense of humor.

351

Sense of humor.

352

Of, of, of, of, of.

353

Quieter, so fast.

354

Humor.

355

Now note this O -R.

356

Here's another O with yet another sound.

357

That's pronounced as the schwa.

358

Actually, this one is too, of, of, of, of, sense of humor, er, er.

359

Now, when schwa is followed by R, it sort of blends in with it.

360

You don't really hear a separate vowel sound.

361

You just hear the R sound.

362

Hume, er, er, er, humor.

363

Not, we're gonna have the same sound as got.

364

That's the AH vowel.

365

But, lots of pitch change there, but, and he does do a true T release.

366

He is really stressing this word.

367

He wants her to see, well, this guy who's so great actually isn't here.

368

We have a great demonstration of length and stress here.

369

He's not here.

370

He's and here.

371

The vowel so much longer.

372

Not shorter.

373

Said more quickly and much flatter.

374

And we do have that stop T.

375

Not, not, not, not here.

376

So it's a really long syllable, a short syllable, and then again a long syllable.

377

Stressed, unstressed, stressed.

378

He's not here.

379

He's not here.

380

He's not here.

381

Well, well, do you hear the pitch change there?

382

It's not flat, it's not well, but it's well.

383

Well.

384

Up, down, shape of stress.

385

Again, a dark L.

386

We're not saying well, but we're saying well -llllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll well,

387

well, well, well, well, if he's not here,

388

he has a reason because there is not a cruel or careless bond in his body.

389

Let's just look at this next sentence, even though it kind of blends into the next one without a break.

390

But let's look at this sentence.

391

I want you to listen to it three times in a row

392

and see if you can feel which are the syllables that are stressed.

393

They'll be longer and they'll have an up -down shape of stress.

394

if he's not here he has a reason

395

if he's not here he has a reason if he's not here he has a reason

396

if he's not definitely some pitch change they're going up

397

and down if he's not here again on here he has a reason.

398

So, he has a different.

399

Lower in pitch, flatter.

400

He has a, he has a, he has a.

401

If he's not here, he has a reason.

402

If he's not here, he has a reason.

403

If he's not here, he has twice.

404

Listen to this little phrase three times and really feel that smooth connection.

405

Actually, let's slow down the speed of that.

406

That, I think, helps really hear the pitch change.

407

If he's not here.

408

If he's not here.

409

If he's not here.

410

And that's really different than he has, which is all much more the same pitch, much less pitch change, quite flat.

411

He has a reason.

412

He has a reason.

413

He has a reason.

414

And then again it goes up.

415

Reason.

416

Re.

417

Letters EA here making the E vowel.

418

Re.

419

Reason.

420

Reason.

421

Notice this letter S, that's a Z sound.

422

This O, that's a schwa.

423

And just like the R taking over the schwa, so does N.

424

So you don't need to try to make a vowel sound here at all, really.

425

Just go from Z into N.

426

Re -zen.

427

Reason.

428

Reason.

429

A reason.

430

A reason.

431

A reason.

432

A reason.

433

The article A here, also the schwa.

434

Uh, uh, linking smoothly in.

435

Actually, let's talk about this S too, because that's also a Z has a, has a, has a, has a.

436

Use that Z to link.

437

He has a, he has a, he has a, he has a, he has a, he has a, he has a, he has a,

438

he has a, he has a, he has a, he has a, he has a, he has a, he has a, he has a,

439

he has a, he has a, he has a, he has a, he has a, he has a, he has a, he has a,

440

he has a, he has a, he has a, he has a, he has a, he has a, he has a, he has a,

441

he has a, he has a, he has a, he has a, he has a, he has a, he has a, he has a,

442

he has a, he has a, he has a, he has a, he has a, he has a, he has a, he has a,

443

he has a, he has a,

444

he has a, he

445

So we already talked about how the R takes over the schwa.

446

It's not really its own separate sound.

447

But it is important to know this IH vowel.

448

Just like in man, how the N changes that vowel, the schwa R also changes this vowel.

449

It is not pure like in the word sit.

450

IH, IH, IH, IH.

451

Listen to the difference between that vowel and this vowel.

452

Sit, IH, hear, IH.

453

sit here here here

454

it's much more like an ee vowel tongue is closer to the roof of the mouth here here here here

455

he has a reason because there is not a cruel

456

or careless bond in his body now let's listen to this next sentence

457

and again feel for our syllables that have the up down shape of stress, the pitch change, and that length.

458

Because there is not a cruel or careless bone in his body.

459

Because there is not a cruel or careless bone in his body.

460

Because there is not a cruel or careless bone in his body.

461

Because there is not a.

462

Because that's flatter.

463

There.

464

That has pitch change and emphasis.

465

There is not a.

466

These three words, not really.

467

No pitch change, much flatter.

468

The S is actually a Z.

469

Is not a.

470

The T there is a flap T linking the two words together.

471

Is not a.

472

Is not a.

473

Is not a.

474

Is not a.

475

And then we have another pitch change.

476

Cruel or careless.

477

So cruel is stressed as is the first syllable here.

478

The word OR, not stressed.

479

The second syllable here, not stressed.

480

Cruel or careless, uh, because there is not a cruel or careless, because there is not a cruel or careless,

481

because there is not a cruel or careless, don't say cruel, forget that.

482

Just crew and then the dark L.

483

Cruel, crueler.

484

Now because the dark L is linking into a vowel, in this case it's the schwa R, crueler.

485

You can lift your tongue tip at the end after you've done the dark sound.

486

Cruel -er.

487

Cruel -er.

488

Cruel or careless.

489

Cruel or careless.

490

Cruel or careless.

491

So because a little bit flatter said quickly, because there.

492

Longer, up -down shape of stress, because there.

493

Then we have is not a, is not a, is not a, flatter.

494

There is not a.

495

Because there is not a.

496

Because there is not a because there is not a cruel or careless.

497

Then we have cruel or careless, uh, two stressed syllables, two unstressed syllables.

498

Cruel or careless.

499

Cruel or careless.

500

Cruel or careless.

501

Let's look at the word careless.

502

So care, in IPA this would be written with the EH as in bed vowel followed by schwa -R.

503

Guess what?

504

Schwa -R changes the vowel.

505

It's not pure.

506

It's not eh, ke, but care.

507

It's more like the eh diphthong.

508

Careless.

509

Also, this looks like the word less with the eh vowel, but you're going to want to pronounce it with the schwa or the eh.

510

That could sound really good too if you keep it short.

511

Careless.

512

Careless careless careless careless bone in his body bone in his body

513

we have two more up down shapes of stress bone in his body

514

on the first syllable of body and the word bone

515

and she does sort of put a little extra air in her b to stress

516

that this letter o is the o diphthong bow.

517

And this letter O, ah.

518

Bone in his.

519

In, in his, quieter, just linking these two other stressed words together.

520

Bone in his, in his body.

521

So ah, ah, in his, in his.

522

Different, flat, quieter.

523

Bone in his body.

524

Bone in his body.

525

Bone in his body.

526

Ah, louder, longer, up -down shape of stress.

527

And then the word ends with a flap, body, and a quick unstressed E.

528

Bone in his body.

529

Ah, two up -down shapes of stress.

530

Bone in his body.

531

Bone in his body.

532

Bone in his body.

533

Have you seen this movie?

534

If not, recommended.

535

Let's listen to this conversation one more time.

536

will you be mean to him too no i will not

537

because the man who is coming here tonight is completely unlike

538

you the man who is coming here tonight is kind

539

and funny he's got the most wonderful sense of humor

540

but he's not here well if he's not here he has a reason

541

because there is not a cruel or careless bond in his body

542

if you've not seen this movie it is worth watching thank you so much for spending your precious time with me.

543

Please make sure to subscribe with notifications on

544

and don't forget to check out RachelsEnglishAcademy .com where you can learn more about my accent training courses.

545

That's it and thanks so much for using Rachel's English.

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Лексика и советы по произношению к этому уроку

Этот урок разговорной практики построен на видео «How Do Americans Speak So Quickly?!». Чаще всего повторяются слова: tonight, word, vowel, careless, pitch. В этом видео 545 предложений и 4466 слов для шедоуинга. Речь длится 33:32. Говорящий держит ровный темп — около 133 слов в минуту, удобный для шедоуинга. 82% слов входят в 3000 самых частых слов английского языка; остальные стоит разобрать перед занятием.

Ключевая лексика этого видео

15 слов из видео, которые стоит выучить, с произношением и значением:

Слово	Произношение	Значение
cruel прилагательное	/ˈkɹuːəl/	жесто́кий
careless прилагательное	/kɛɹ.ləs/	невнима́тельный, небре́жный
pitch существительное	/pɪt͡ʃ/	бросо́к
humour существительное	/ˈhjuːmɚ/	ю́мор
bone существительное	/boʊn/	кость
pronounce глагол	/pɹəˈnaʊns/	объявля́ть, объяви́ть
scoop существительное	/skup/	ковш, сово́к
accent существительное	/ækˈsɛnt/	ударе́ние, акце́нт
phrase существительное	/ˈfɹeɪ̯z/	фра́за, выраже́ние
smoothly наречие	/ˈsmuːðli/	пла́вно, гла́дко
passion существительное	/ˈpæʃən/	страсть, аффе́кт
smooth прилагательное	/smuːð/	гла́дкий
connect глагол	/kəˈnɛkt/	свя́зывать, связа́ть
relax глагол	/ɹɪˈlæks/	расслабля́ть, рассла́бить
opera существительное	/ˈɒp.ə.ɹə/	о́пера

Фразовые глаголы, которые вы услышите

Слово	Значение
go down глагол	спуска́ться, спусти́ться
check out глагол	проверя́ть, прове́рить
go up глагол	поднима́ться, подня́ться
take over глагол	брать на себя́, взять на себя́
back up глагол	дава́ть за́дний ход
come down глагол	спуска́ться, спусти́ться
point out глагол	ука́зывать, указа́ть
slow down глагол	замедля́ть, заме́длить

Фразы, которые стоит повторять

Короткие законченные фразы из видео, которые пригодятся в повседневном разговоре:

Will you be mean to him too?
Hear how my voice is quieter?
Will you be, will you be, will you be?
Do you hear how that's flatter than wonderful?
Have you seen this movie?

Грамматика в этом видео

Конструкции, которые говорящий использует чаще всего, с точными словами из видео:

Конструкция	В видео
Present Perfect Continuous have/has been + -ing — действие началось раньше и продолжается	has been teaching
Пассивный залог be + причастие прошедшего времени — важно, что происходит, а не кто это делает	is dropped · are said · being understood
Придаточные определительные who / which + предложение — уточнение о человеке или предмете	man who is · ull, which is · schwa, which is
Present Perfect have/has + причастие прошедшего времени — прошлое действие, важное сейчас	haven't seen · You've probably learned · you've done

Произношение, на которое стоит обратить внимание

Говорящий использует 39 сокращённых и редуцированных форм, например don't, they're, we're. Произносите их коротко, так, как слышите.

Звуки «th»: smoothly /ˈsmuːðli/, smooth /smuːð/, diphthong /ˈdɪpˌθɔŋ/
Звуки «sh» и «zh»: passion /ˈpæʃən/, contrast /kənˈt(ʃ)ɹæst/, reduction /ɹɪˈdʌk.ʃən/, emotion /ɪˈməʊ.ʃən/, demonstration /dɛmənˈstɹeɪʃən/
Длинные слова — следите за ударением: demonstration /dɛmənˈstɹeɪʃən/, notification /ˌnoʊtɪfɪˈkeɪʃn̩/, pronunciation /pɹəˌnʌn.siˈeɪ.ʃən/, exaggerate /ɛɡˈzæd͡ʒ.ə.ɹeɪt/, intonation /ɪntəˈneɪʃən/

Звуки, трудные для русскоязычных:

Звонкие согласные в конце слова — не оглушайте их: phrase /ˈfɹeɪ̯z/, blend /blɛnd/, subscribe /səbˈskɹaɪb/, pause /pɔːz/, confuse /kənˈfjuːz/

Как заниматься с этим видео

Прослушайте всё видео один раз молча и выпишите незнакомые слова.
Повторяйте предложение за предложением на обычной скорости, пока ваш ритм не совпадёт с ритмом говорящего.
Запишите себя и сравните с оригиналом, обращая внимание на такие слова, как cruel, careless, pitch.

Что такое техника Shadowing?

Shadowing — это научно обоснованная техника изучения языка, изначально разработанная для подготовки профессиональных переводчиков и популяризированная полиглотом доктором Александром Аргуэльесом. Метод прост, но эффективен: вы слушаете аудио на английском от носителей языка и немедленно повторяете вслух — как тень, следующая за говорящим с задержкой в 1–2 секунды. В отличие от пассивного прослушивания или грамматических упражнений, Shadowing заставляет мозг и мышцы рта одновременно обрабатывать и воспроизводить реальные речевые паттерны. Исследования показывают, что это значительно улучшает точность произношения, интонацию, ритм, связную речь, понимание на слух и беглость речи — что делает его одним из самых эффективных методов для подготовки к IELTS Speaking и реального общения на английском.

Техника шедоуинга: читать полное пошаговое руководство →

Практика Shadowing: How Do Americans Speak So Quickly?! | The American English Accent EXPLAINED - Изучайте разговорный английский по видео

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Лексика и советы по произношению к этому уроку

Ключевая лексика этого видео

Фразовые глаголы, которые вы услышите

Фразы, которые стоит повторять

Грамматика в этом видео

Произношение, на которое стоит обратить внимание

Как заниматься с этим видео

Что такое техника Shadowing?