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  • Today, we're taking a scene from TV. An episode of  

  • Friends. They're talking about  New Year's Eve and making a pact.

  • I say this year, no dates, we make  a pact, just the six of us, dinner.

  • We're going to study that conversation, actuallyfour conversations, to learn some vocabulary  

  • words, idioms, but more importantly, to study the  rhythm of American English. How do Americans speak  

  • so fast? And why do they speak so fast? We'll  study reductions and you'll get fast English.  

  • Also, we'll have fun talking about the culture  of New Year's in the United States as we go.

  • I make new videos every Tuesday to help  you speak faster and more natural English,  

  • you'll even be watching TV without subtitles. If  you like this video, or you learn something new,  

  • please give it a thumbs up and subscribe with  notifications. I'd love to see you back here.

  • For the next four weeks, we're taking four  scenes, all from the same Friends episode,  

  • season 1 episode 10, all about their New Year's  eve pact. We're going to do an in-depth analysis  

  • of the pronunciation. Studying this way  is critical to understanding Americans  

  • and being easily understood yourselfHere's the scene we'll study today.

  • Hey, do you guys know what  you're doing for New Year's? 

  • Wait, what? What is wrong with New Year's? Well, nothing for you. You have Paolo,  

  • you don't have to face the horrible pressures of  this holiday. Desperate scramble to find anything  

  • with lips just so you can have somebody to kiss  when the ball drops, man, I'm talking loud

  • Well, for your information, Paolo is  going to be in Rome this New Year so  

  • I'll be just as pathetic as the rest of you. It's just that I'm sick of being a victim  

  • of this Dick Clark holiday. I say this year, no  dates, we make a pact. Just the six of us, dinner

  • You know, I was hoping for  a little more enthusiasm.

  • Next up is our in-depth analysis. When  we study like this, you can really start  

  • to see the give and take. Stressed and  unstressed, and the linking between words.  

  • These are the things that make up the  character, the feel of American English.  

  • But also, they're the very things that  make understanding English so hard  

  • if what you've learned is that each  word is separate and fully pronounced.

  • Hey, do you guys know what  you're doing for New Year's? 

  • We start with the word hey. But it's said  pretty quickly, it sort of has an abrupt stop.  

  • Hey. Hey. Hey. So it still has that up down  shape, but it doesn't go hey. Hey. Hey. Hey

  • Hey

  • So this word can be a greeting word, when you  see someone on the street that you know. Hey,  

  • how are you doing? Or you walk into  work and you see a co-worker there.  

  • Hey, how are you doing today? This is not being  used as a greeting here. They're already there.  

  • She probably greeted them when they walked inHere, it's being used a little bit differently,  

  • it's just to get their attention to announce  that she's about to say something. Hey. Hey

  • Hey,. Hey, do you guys know what  you're doing for New Year's? 

  • Then she asks her question. Do you guys  know what you're doing for New Year's? So  

  • more stress on you, do you guys know what  you're doing, also doing, for New Year's,  

  • and then the event, New Year's, compound wordfirst word will get more stress, New Year's,  

  • like eyeball or basketball. It's the first  word of a compound word that is more stressed.

  • Do you guys know what you're doing for New Year's?  

  • And it's all extremely smooth. It's not do you  guys know what, but do you guys know what, do you  

  • guys know what. Knowing your stressed syllable can  help you smooth things out. There's no stopping,  

  • no breaks you just smoothly glide your energy  towards that stressed word. Do you guys know  

  • what you're doing. Do you guys know what you're  doing. See if you can imitate it that smoothly.  

  • It might feel unclear to you, but this  is what's natural in American English.

  • do you guys know what you're doing.

  • I would put a little bit of length on know  as well. Do you guys know what you're doing  

  • for New Year's? Know what you're, know what  you're. Do you know what's happening here? Do  

  • you hear that? It's not what you'rebut it's what you're, what you're--

  • do you guys know what you're doing--

  • When a word ends in a T and the next word  begins with Y, most commonly you or your,  

  • it's pretty common to make that final  T a CH instead. So it's not what  

  • you're, but what you're, what  you're, what you're, what you're.

  • And the word 'you're' reduces. It's not you're but  it's said very quickly: you're, you're, you're,  

  • you're. You can't make that quickly enoughWhat you're, what you're, what you're doing.

  • What you're doing,

  • for New Year's?

  • And then we have another reduction: for New  Year's, for New Year's, it's not for, but: fur,  

  • fur, fur. And when we reduce it like we want to,  

  • we want to make sure that it glides really  smoothly, connects with no break into the  

  • next word. So it's not for New Year's,  but for New Year's, for New Year's,  

  • uuh. As if it's just another syllable in the  same word. For New Year's. For New Year's.

  • For New Year's?

  • It's so different speaking this wayMost of my students have learned  

  • to make words separate, clearer, do you  guys know what you're doing for New Year's?  

  • But that's not at all how Americans speak, we  glide it together so smoothly. No breaks in sound.

  • Do you guys know what you're doing for New Year's?

  • New Year's is short for New Year's Eve, the  night before New Year's Day, when we celebrate.  

  • If we were going to talk about New  Year's Day, we would probably say  

  • all of that, if you hear just New Year's,  that means the night before New Year's day.

  • New Year's--

  • Gee! What?

  • Oh my gosh, guys. I almost forgot. I want to  let you know that in January, right here on this  

  • channel, I'm doing a 30 Day Vocabulary Challenge.  A new video every day for 30 days, we're learning  

  • words off the academic word list over 100 wordswith a download that includes quizzes to make  

  • sure you're really getting them. If you want to  officially join this challenge with me, and get  

  • the download, please follow the link in the video  description, or click the link right here in the  

  • card. Let's supercharge your vocabulary  in January. And now back to the analysis.

  • Gee! What? Big, up down shapes of stress thereGee! What? Her pitch is a little bit higher.  

  • She's surprised that question got this reaction.

  • Gee! What

  • The exclamation 'Gee!' the letter  G there makes the Jjj-- J sound.  

  • It's not gee, gee, withhard G, but jjj--- gee! Gee!

  • Gee!

  • What?

  • Gee! What? Really light release of the truethere. It's not what, but what, super light.

  • What?

  • What is wrong with New Year's?

  • What is wrong with New Year's? And then she  starts laughing towards the end of her phrase.

  • What is wrong with New Year's? 

  • What, wrong, new, our three most stressed  words there. What is, I would say here the  

  • stress is going up, what is wrong with New  Year's? And then on new, it starts coming  

  • down. What is wrong with New Year's? Notice how  these two words link together? What is, what is,  

  • they link very smoothly with the flap T. When  a word ends in a vowel or diphthong plus T, and  

  • the next word begins a vowel or diphthong, that's  going to be a flap T to link: what is, what is.

  • What is

  • wrong with New Year's?

  • In the word wrong, the W is silent,  

  • and actually, in the word what, theis silent. Now, there is a pronunciation  

  • where there is a little escape of air. Whatwhat, but that's not very common anymore.

  • Now really we just do a clean W sound: what, whatwhat is wrong? What is wrong with New Year's?

  • What is wrong with New Year's?

  • The word with, this word is unstressed. What  is wrong with New Year's? And the unvoiced TH  

  • here said so quickly, I almost don't even hear itWith New Year's? With New Year's? With New Year's?  

  • It's almost as if it's dropped to help link  those words smoothly, and to help make this word  

  • 'with' said very quickly, because it's unstressedand we want that contrast with the longer  

  • stressed words. Again, everything  links together very smoothly.

  • What is wrong with New Year's?

  • Well, nothing for you. You  have Paulo. You don't have  

  • to face the horrible pressures of this holiday.

  • Now he has a really long thought group here. I  would write it with several different periods  

  • to break it up into different sentences, when  he says it, he really doesn't take any breaks. He  

  • says the whole thing connected smoothly until he  gets to the end of holiday where he puts a break.

  • Well, nothing for you. You have Paulo. You don't have to face the horrible pressures of this holiday.

  • Well, nothing for you. Well, said very quickly  and the word 'for' how was that pronounced?

  • Well, nothing for you

  • Nothing for, nothing for, it's  reduced, again, it's not for,  

  • it's for, and that's said quickly, it's  unstressed, it's lower in pitch. Nothing  

  • for, both of these syllables unstressed, coming  down from that peak of stress in 'noth--'

  • Now this is the letter O, it makes the UH  vowel like in love, butter, stuff. Nuh--nuh--  

  • nothing for, nothing for.

  • Nothing for,

  • you.

  • Nothing for you. You, stressing you, kind  of an up down, and then up again, you,  

  • that really brings those changes of pitch, really  brings stress to that word. Nothing for you.

  • Nothing for you,

  • You have Paolo.

  • You have Paolo. You have Paolo.

  • The peak of stress there, the stressed  syllable of her boyfriend's name Paolo,  

  • and then it falls down in pitch afterwardsYou and have, both go up towards that.  

  • You have, you have, you have. Do you notice  he's dropping the H there. That's a common  

  • reduction in the word have. You have, you  have, you have, you have, you have Paulo.

  • You have Paolo.

  • Linking and reductions. Such an important  part to sounding natural speaking English.  

  • You have Paolo. You have Paolo. You have Paolo.

  • You don't have to face the horrible pressures--

  • You don't have to face the horrible pressures-- Some stress on face, the adjective, horrible,  

  • and the noun, pressures. Both of  those have first syllable stress.

  • You don't have to face the horrible pressures.  

  • You don't have to-- now we have four words there  before our stressed word face. What do you think  

  • are they pronounced? You don't have to, you don't  have to. No, I doubt it. That's too clear isn't  

  • it? These are unstressed words. Let's listen  to how just those four words are pronounced.

  • You don't have to--

  • You don't have to-- you don't have to--  you don't have to-- you don't have to-- 

  • It's very different, isn't it? Linking together  very smoothly. You don't, I would say the T  

  • there is dropped, N apostrophe T. We havecouple different pronunciations. It can be  

  • don't, with the true T, that's the least commonIt can be: don't have, don't have, with a stop T,  

  • that's common, but it can also be don't havedon't have, with no T, that's also pretty common.  

  • Here, he's dropped the T completely, you don't  have to, don't have, the N goes right into the  

  • AA vowel of have, because guess what? He  also dropped the H just like he did here.

  • You don't have to--  

  • You don't have to-- You don't have to-- You don't have to--

  • The V very very week, the T certainly not a true T

  • You don't have to-- And it's a very week flap T then schwa for the word to.

  • So I'm going to say it slowly so we can hear it but of course it isn't the right pace.

  • don't have to-- don't have to--

  • but it's said much more quickly. Don't have to-- don't have to-- don't have to-- 

  • You don't have to-- You don't have to-- You don't have to--

  • You don't have to--

  • If everything was said that wayAmericans wouldn't be able to  

  • understand English, but it's funny, we can  say half of our words that way, but when  

  • we have our stressed syllables and our stress  words in there too, we understand everything.

  • You don't have to--

  • face the horrible pressures of--

  • Face, on the other hand, is quite clear.

  • Face the horrible,

  • Face the horrible, face the, face the, much  clearer than what we've just heard you don't have  

  • to. The word the, it's unstressed, it's a quick  little word linking these two stressed syllables.  

  • The the the the the. When we have  an unstressed word like this,  

  • where it begins with a voiced TH, the, thisthese, those, you don't have to bring the tongue  

  • tip through. The tongue tip can touch the backs  of the teeth, you don't want it at the roof of  

  • the mouth coming down, because that's going to  sound like a D, duh, but just touching the backs  

  • of the teeth, the the the the, straight ahead  in the back, the the the, face the horrible.

  • Face the horrible,

  • So the word horrible has first syllable  stress. I would pronounce it with the AW  

  • as in law, followed by R. That's the most common  pronunciation. When this vowel is followed by R,  

  • it's not pure, but it becomes ho-oh-oh-- horrible,  a little bit more lip rounding, and the tongue  

  • shifts back a little bit more. He's pronouncing  it with a vowel more like the AH vowel like in  

  • father, har har har horrible, horrible, but this  one's more common. Hor hor hor horrible, horrible.

  • Horrible,

  • pressures of this holiday.

  • Horrible pressures of this holiday.  

  • So we have stress on horr-- press--  hol-- also the first syllable of holiday.

  • Horrible pressures of this holiday.

  • Pressures of this, the unstressed  syllable of the word pressures, and  

  • the words of and this , are all unstressed, said  more quickly. Ssures of this, ssures of this.

  • Pressures of this--

  • holiday.

  • The word 'of', he's actually not  reducing that to just the schwa.  

  • He is making the v sound. Pressures  of this, of this. The word this  

  • rising up towards the peak of  stress in holiday. This holiday.

  • And notice the double S here in pressures is the  SH sound. Pressures. Pressures of this holiday.

  • Pressures of this holiday.

  • Don't separate your words out with gaps  and spaces. Link them together smoothly.

  • Pressures of this holiday.

  • Desperate scramble to find anything with lips just  

  • so you can have somebody to kiss when  the ball drops. Man, I'm talking loud.

  • Now, again another very long thought groupThis should be written as multiple sentences,  

  • but he doesn't stop, he just keeps his energy  going, linking word after word after word.

  • Desperate scramble to find anything with lips just  

  • so you can have somebody to kiss when  the ball drops. Man, I'm talking loud.

  • Desperate scramble to find anything with lips-- Can you sense the stressed syllables there?  

  • Let's listen to just that on a loop three times. Desperate scramble to find anything with lips-- 

  • Desperate scramble to find anything with lips--

  • Desperate scramble to find anything with lips--

  • Those are our four stressed  words, stressed syllables.

  • Desperate scramble to find anything with lips-- 

  • Let's talk about the first word: desperate. So  this is one of those words that can be pronounced  

  • as two syllables or three, just like family and  camera. Desperate. It's a little bit more common  

  • to just make it two syllables, so instead of  des-per-ate, it becomes desperate, desperate.

  • Desperate, desperate, desperate.

  • The first syllable ends in S, and the second  syllable has the PR cluster. Desperate.  

  • Desperate. First syllable stress there. Desperate  scramble. Now the T in desperate is a stop T,  

  • because the next word begins with a consonantSo it's not desperate, but desperate,  

  • desperate scramble. That stop of air is  what signifies the T. Desperate scramble.

  • Desperate scramble. Desperate  scramble. Desperate scramble to find--

  • Desperate scramble to find-- scramble to find-- Before our next stressed syllable, anything,  

  • the EH as in bed vowel, we have unstressed  syllables, the second syllable of scramble,  

  • the word to, and the word find. They're all lower  in pitch, flatter. Scramble to find anything--

  • Scramble to-- ble to-- Do you  notice that's not a true T?  

  • That's a flap T. Scramble to-- The tongue just  flaps or taps against the roof of the mouth.  

  • It's said quickly, it's not the OO vowel, but  the schwa. Scramble to-- scramble to find.

  • Scramble to find--

  • And he doesn't really make a D here. I've played  it in slow motion, and I don't really hear any  

  • of that D sound. I certainly don't hear ddd-- a  released D. Let's listen to this in slow motion.

  • Find,

  • find anything with lips--

  • And he just keeps on going, doesn't he? He speaks  pretty quickly here, and it's not just the pacing  

  • but it's that there are no breaksthat's what makes it harder to bring in,  

  • and it's part of his character, I've noticed  that Chandler does this a lot when he's speaking.  

  • He runs sentences together.

  • Find anything with lips.

  • Anything with lips. So the TH  in anything, that's unvoiced,  

  • the tongue tip does have to come through  the teeth for that. Anything with lips.

  • Anything with lips.

  • And the unvoiced TH in 'with' said very very  quickly: with lips, with lips, with lips.

  • With lips.

  • just so you can have somebody to kiss when the ball drops.

  • Just so you can have somebody--  just so you can have somebody to-- 

  • Wow a lot of words there that are less stressed  

  • and flatter before our next stressed  word 'kiss'. Kiss when the ball drops--

  • Just so you can have somebody  to kiss when the ball drops

  • Just so you can have somebody  to kiss when the ball drops

  • Just so you can have somebody  to kiss when the ball drops.

  • Just so you can have somebody to-- That's not how that's pronounced,  

  • we have some reductions, and it's  said very quickly. The word just,  

  • it's really common to drop that T when  the next word begins with the consonant.  

  • So these two words link together with an S. Just  so, just so, just so, just so, just so, just so.

  • Just so--

  • you can have  somebody to kiss when the ball drops.

  • Just so you can-- can can canThe word can reduces. That schwa  

  • is said instead of the AA vowel, can becomes canJust so you can, just so you can, just you can,  

  • just so you can. The word so, it's that OH  diphthong, so, but it's not said that clearly,  

  • is it? It's not just so, but it's just so you  can, I think I would write that with the schwa.  

  • Just so you can, just so you canjust so you can, just you can.

  • Just so you can--

  • So you can have somebody, so you can haveso you can have, so you can have. I don't  

  • think I hear an H there. Again, dropping the  H in half, the N linking into the AA vowel

  • Can have, can have, can have, can havecan have somebody, can have somebody,  

  • can have somebody. A little bit of  stress on our stressed syllable there.

  • So you can have somebody, so you can  have somebody, so you can have somebody.

  • Again, the letter O, makes the UH vowel like and  butter. Some, some, some, somebody, somebody,  

  • somebody. It's not some body. This word by  itself, body, but in the whole word, body.  

  • Body. Somebody. Somebo-- that's the  schwa. Somebody. Somebody. Somebody.

  • Somebody--

  • Now, the word to. How is it pronounced

  • Somebody to--

  • Somebody to-- body to-- The tongue flaps for  the D because it comes between two vowels and  

  • it flaps for the T. It actually sounds the  same. Flap T, flap D, they sound the same.  

  • Somebody to, somebody to, and  again, the vowel in 'to' reduces,  

  • it's the schwa, it's not the OO vowelSomebody to, somebody to, somebody to kiss.

  • Somebody to kiss--

  • when the ball drops.

  • Kiss when the ball drops. You can really  feel that shape of stress. Kiss when the--

  • When and the, lower in pitch, not stressedless important. Kiss when the ball drops.

  • Kiss when the ball drops. Kiss when the  ball drops. Kiss when the ball drops.

  • Ball drops. The DR cluster, you know, there's  a pronunciation that's more common than 

  • DR, and it's JR. Jr jr jr draw, draw, draw.  

  • So rather than draw, it's draw, you  can make a J sound there. Drops.

  • Ball drops. Ball drops. Ball  drops. Man, I'm talking loud.

  • Man, I'm talking loud. Lots of  stress on man. Man, I'm talking loud.

  • A little bit on loud.

  • Man, I'm talking loud.

  • The word man, if you looked it up in the  dictionary, you would see the AA vowel,  

  • but it's not pure when it's followed by N.  

  • The back of the tongue relaxes, so it goes  through another sound, mauh-- uh uh uh uh--  

  • you can think of it as being the UH as  in butter vowel, or the schwa. Man, man,  

  • man, I'm talking loud. Man I'm talkin--

  • Talking. The L in this word is silent.

  • Man, I'm talking loud.

  • And rather than making an ING ending,  

  • He drops the NG and makes just an N.  Talkin, talkin, talkin loud, talkin loud.

  • Talkin loud.

  • The final D in loud is not released  like that. It's not loud, but it's loud.  

  • Tongue goes up into position, the vocal  cords vibrate, but it's unreleased.  

  • That's the most common pronunciation for  a D at the end of a thought group. Loud.

  • Loud. Loud. Loud.

  • Well, for your information.

  • Well, for your information. Here, Rachel slows  down and gets extra clear with her pronunciation,  

  • because Chandler's made an assumption about her  and it's wrong. He thinks that her boyfriend  

  • will be in town for New Year's, she won't have to  worry about being alone, so, but he's going to be  

  • out of town. So she slows down, she pronounces  things a little bit more carefully, because  

  • she's calling him out on his assumption. She's  saying you made an assumption, and it was wrong.

  • Well, for your information.

  • Well, well, well, this is just  like when she said: hey, hey.  

  • It's got a quick up down shape but it feelslittle abrupt. Well, well, now the for reduction,  

  • you know, it's unstressed, but I don't  know that I would write it with a schwa.  

  • Like I said she's being a little bit more  clear here than normal conversation. For your,  

  • for your, for your. I think I am hearing  more of that AW, R combination rather than:  

  • fer yer fer yer fer yer, which would be a little  bit more conversational, much more common would  

  • be the reduction. But she's being extra clear  here. She wants to set the record straight.

  • Well, for your information.

  • For your information. So a little bit of shape of  stress on your, and information. Notice we have  

  • FOR in this word, it's not information, it's  always information, it's always the schwa in the  

  • pronunciation. That's an unstressed syllable in  a word that may be stressed, but still unstressed  

  • syllables will be unstressed. Information.  --mation. TION, making the sounds SH, schwa, N.

  • For your information.

  • Paulo is going to be in Rome this New Year's.

  • Paolo is going to be in Rome this New  Year's. Paolo, stressed, is going to be in  

  • Rome, stressed, this New Year's,  she stresses new but it's going up,  

  • because she's going to keep  going, she's not done talking.

  • Paolo is going to be in Rome this New Year's.

  • What about 'is going to bein our unstressed words here

  • Is going to be in-- is going  to be in-- is going to be in--

  • Is going to be in--

  • Do you hear, when we listen to just those  unstressed words, how much they're on the same  

  • pitch, it's so different than our stressed words  that really have a change in pitch. Paolo, uh--  

  • is going to be in-- uhhh--

  • I love that about studying pronunciationStressed syllables have a pitch change  

  • happening ,unstressed syllables tend to  have much less pitch change happening.  

  • Now, sometimes they're coming down  from a stress syllable, or leading  

  • up to a stressed syllable, but they don't  have a change of direction, and this set here,  

  • this set of unstressed words is so flat. Is going  to be, becomes: is gonna, is gonna, gonna, gonna.

  • Is gonna be in, be in, be in, be inlinking together really smoothly, no break.

  • Is going to be in,

  • Rome this New Year's.

  • Rome this New Year's. This, said quickly.  

  • Rome this New Year's, and it's  going to be lower in pitch.

  • Rome this New Year's.

  • So I'll be just as pathetic as the rest of you.

  • So I'll be just as pathetic as the rest of youJust, pathet-- our stressed syllable of pathetic,  

  • and rest, are our most stressed words  there. Let's look at 'so I'll be'.

  • So I'll be--

  • So I'll be-- so I'll be--  so I'll be-- so I'll be--

  • Her pitch is pretty high here, it's a  little bit flatter, so I'll be just--  

  • the energy going towards our stressed syllable  there. Just. This word is so often pronounced as  

  • 'all' but I do hear it a little bit  more with that AI diphthong. I'll,  

  • I'll, I'll, I'll, I'll. So I'll be--  so I'll be-- so I'll be-- so I'll be--

  • So I'll be--

  • just as pathetic as the rest of you.

  • Just as pathetic-- just as--

  • So here we have an ST cluster. The next word  begins with a vowel, so you do link the T in.  

  • It's not 'as' though. She makes that a schwaThe word as, often becomes uz, just as, just as.

  • Just as, just as, just as  pathetic as the rest of you.

  • Just as pathetic as-- againthe word as becomes: uz uz uz 

  • uz, uz the uz the uz the. Lower in  pitch, two unstressed words here.

  • Just as pathetic as--

  • Now, our stress word, pathetic. The TH there is  unvoiced. Bring your tongue tip through the teeth.  

  • Then we have a letter T, it comes  between two vowels, that's a flap,  

  • not a true T but ra, a flap  T. Pathetic. Rarara, rerere.  

  • Pathetic. Pathetic. Pathetic as the rest of you.

  • Pathetic as the rest of you.

  • Rest of you. The word of reduces, of of of of ofSchwa, said more quickly. Rest of you. And that  

  • T links into the vowel withlight true T release. Rest of you.

  • The rest of you.

  • It's just that I'm sick of being a victim--

  • It's just that I'm sick of being a victim-- He's really angry here, isn't he? Sick of being a  

  • victim. He's holding on to that V a little bit  which brings more stress into that syllable.  

  • A victim is someone who's harmed by something  unpleasant. Or someone who's fooled by something,  

  • cheated by something, or someone. He  feels that he's a victim of this holiday.  

  • He's harmed by the expectations that you  bring a date on this holiday. It's too much  

  • pressure, and it makes his life  difficult at this time of year.

  • It's just that I'm sick of being a victim-- 

  • It's just that I'm-- said really quickly.

  • It's just that I'm--

  • I don't even really hear it 'it's'. It's more like  I'm hearing the sound starting with just, even  

  • though I know 'it's' belongs there grammaticallyJust that I'm, just that I'm, just that I'm,  

  • just that I'm. T dropped in just, vowel reduced  in that, it becomes the schwa, that that that,  

  • just that I'm, just that I'm. And the T that  links these two words together is a flap because  

  • it comes between two vowel or diphthong soundsJust that I'm, just that I'm, just that I'm.

  • Just that I'm--

  • sick of being a victim--

  • Sick of being a victim-- sick of being a-- Unstressed words, less clear, the word 'of' say  

  • that quickly with a schwa. Sick of being-- I'm not  really sure if I'm hearing a V. You can definitely  

  • get away with dropping it and just link that schwa  into the B sound. A being, a being, a being, a  

  • being a, being a. The letter A also just the schwa  in IPA. Being a, being a. Sick of being a victim.

  • Sick of being a victim--

  • of this Dick Clark--

  • Victim of this, of this, of this, of this--

  • Again, the word 'of' just the  schwa. Linking into the next word.  

  • In this case, the word this. Of this-- of this--  of this-- of this-- victim of this Dick Clark--

  • Victim of this Dick Clark-- 

  • Dick Clark. So we have two ending K's. He puts  a little break here, he does release that K.  

  • This sound, he doesn't. When the next word  begins with a consonant, and we have an ending K,  

  • it's pretty common to drop the release and just  stop the air by lifting the back of the tongue  

  • against the soft palate. That's  the position for K. Dick--  

  • but skipping that release of airInstead of the release of air,  

  • you just go into the next sound, in this caseit's another K sound. Dick Clark. Dick Clark.

  • Dick Clark--

  • Dick Clark used to host a show every New  Year's Eve, televised from New York City,  

  • where there would be concerts, different bands  would play, I think there was a parade maybe,  

  • a lot of energy around times squarelots of people gathered there. And  

  • then at midnight the ball would drop. So  Dick Clark was the TV host of this event.

  • Dick Clark--

  • holiday. I say this year, no dates--

  • Holiday. I say this year-- so again,  

  • he links the sentences together with  no break. Holiday. I say this year--

  • Holiday. I say this year--

  • Holiday I-- hol-- Stress on holidayHoliday. I say this year. I say this year.

  • Holiday. I say this year--

  • no dates--

  • This year-- this year-- No datesMore stress on this and no.

  • This year, no dates--

  • we make a pact.

  • We make a pact. A pact is an agreement  that you enter into with other people.  

  • Or it could also be between two  companies, organizations, or countries.  

  • Make and pact, stressed. We  make a pact. The words we and a,  

  • unstressed, lower in pitch, we make a pactand everything does link together. We make a  

  • pact. The ending K here links into the schwaand he does do a full release of the KT cluster.

  • We make a pact.

  • Just the six of us, dinner.

  • Now let's listen to this next sentence.  I'm not going to tell you what the most  

  • stressed syllables are. I want you to  listen to it three times and you tell  

  • me what you think the most stressed syllables are.

  • Just the six of us, dinner.

  • Just the six of us, dinner.

  • Just the six of us, dinner.

  • Some stress on just. Just the six of us, dinnerAnd then dinner. Even though just has some stress,  

  • the T is still dropped because it comes between  two consonants. And that's just so common. Just  

  • the six of us. The letter X makes the sounds KS  here. Six of us. Six of-- links right into the  

  • schwa of 'of' and I do hear the V. Six of us--  which links into the UH vowel for us. Six of us.

  • Six of us,

  • dinner.

  • Dinner. Dinner. First syllable  stress. DA-da. Dinner.

  • Dinner.

  • Sure!

  • Sure! Sure! Rachel gives a quick up down  shape high pitch, sure, sure. There are a  

  • couple different ways to pronounce this word. She  did it with the UR vowel R combination, like in  

  • bird. Ur ur ur. So it's really just two sounds  SH and R. Sure. Sh-rr. Sh-rr. Sure. Sure.

  • Sure!

  • You know, I was hoping for  a little more enthusiasm.

  • You know, you know, the word you, said so quicklyyou almost don't hear it. You know, you know,  

  • you know. In this phrase, it's really common  to reduce the word you to ya ya ya. You know,  

  • and stress is there on the verb. You know.

  • You know,

  • I was hoping for a little more enthusiasm.

  • I was hoping for a little more enthusiasm.  

  • Enthusiasm. And actually, he  wasn't done there. He said:

  • I was hoping for a little more enthusiasm.

  • I was hoping for a little more enthusiasm.

  • I was hoping for a little more enthusiasm.

  • Enthusiasm than that. I didn't even write it down  because I didn't even notice at the beginning.  

  • It's so low in pitch, coming  down after the stress of  

  • enthu-- and then also other  people start cheering over it.

  • Enthusiasm than that.

  • Enthusiasm than that.

  • Enthusiasm than that.

  • I was-- these two words become: I was, I was,  

  • low in pitch, flatter, I would write was  with the schwa. Was, was, I was, I was.

  • I was--

  • I was-- I was-- I was-- I was hoping.

  • I was hoping.

  • I was hoping.

  • I was hoping.

  • Hoping. I'm having a hard time deciding,  I think he does change the NG to just N,  

  • but this is said so quickly, I almost can't  tell. Hoping for a little, hoping for a  

  • little. Definitely the word for becomes fur, thelinks into the schwa, for a, for a, for a, for a.

  • Hoping for a little,

  • more enthusiasm.

  • Hoping for a little more enthusiasm. So little  and more, also flatter. They don't really have  

  • the stressed shape that hopin' and enthusiasm  have. Little, little, little, rararararara.  

  • Do you hear that? It's a flap T.

  • That's because it comes between two vowels. Now  you're probably looking here and you're saying,  

  • wait, the L is a consonant, that's not a vowel.  

  • True. But we're talking not about the  letters here, but about the sounds,  

  • and in IPA, that ending is written schwa L. So now  you see the T sound does come between two vowels,  

  • therefore, it's a flap T. Little, littlelittle, little more, little more, little more.

  • Little more,

  • enthusiasm.

  • Enthusiasm. The TH there is the unvoiced THand the tongue tip does have to come through  

  • the teeth for that. Enthusiasm. Both of these  letters S make a Z sound. Enthusiasm. Enthusiasm.

  • Enthusiasm.

  • Let's listen to this whole  conversation one more time.

  • Hey, do you guys know what  you're doing for New Year's? 

  • Wait, what? What is wrong with New Year's? Well, nothing for you. You have Paolo,  

  • you don't have to face the horrible pressures of  this holiday. Desperate scramble to find anything  

  • with lips just so you can have somebody to kiss  when the ball drops, man, I'm talking loud

  • Well, for your information, Paolo is  going to be in Rome this New Year so  

  • I'll be just as pathetic as the rest of you. It's just that I'm sick of being a victim  

  • of this Dick Clark holiday. I say this year, no  dates, we make a pact. Just the six of us, dinner

  • You know, I was hoping for  a little more enthusiasm.

  • So what happens with the pact? Next  week, we're going to study this scene.

  • I just want to be with him all  the time. You know, day and night,  

  • and night and day, and special occasions.

  • Wait a minute. Wait, I see where this is  going. You're going to ask him the New Year's,  

  • aren't you? You're going to break the  pact. She's going to break the pact

  • No. No. No. No. No. No. Yeah, could I just

  • Yeah, 'cause I already asked Janice. Come on! This was a pact! This was your pact

  • I snapped, okay? I couldn't  handle the pressure and I snapped

  • Yep, but Janice, that was like  the worst breakup in history

  • I'm not saying it was a good  idea. I'm saying I snapped.

  • If you didn't understand all thatdon't worry about it. We're going to  

  • do an in-depth analysis of it next week. But  needless to say, the pact has been broken.  

  • And it deteriorates further. This  is the third scene that we'll study.

  • Tell me something. What does the  phrase 'no date pact' mean to you

  • Look, I'm sorry, okay? It's just that  Chandler, has somebody, and Phoebe has  

  • somebody, I thought I'd asked fun Bobby! Fun Bobby? Your ex-boyfriend, fun Bobby

  • Yeah! Okay, so on our no date evening,  

  • three of you now are gonna have dates. Uh, four

  • Four? Five

  • Five. Sorry! Paolo's catching an earlier flight

  • Okay, so I'm gonna be the only one  standing there alone when the ball drops

  • Oh, come on! We'll have, we'll have a big  party and no one will know who's with whom.

  • Who's with whom. She gotlittle cut off there. And  

  • we'll finish with a fourth  scene at the stroke of midnight.

  • In 20 seconds, it'll be midnight. And the moment of joy is upon us

  • Looks like that no date pact thing worked out? Happy New Year

  • You know, I just thought I'd throw this out here,  

  • I'm no math whiz but I do believe there  are three girls and three guys right here

  • Oh, I don't feel like kissing anyone tonight. I can't kiss anyone

  • So I'm kissing everyone? No. No. No. You can't kiss Ross,  

  • that's your brother. Oh yeah

  • Well perfect, perfect. So now  everybody's gonna kiss but me

  • All right, somebody kiss me. Somebody kiss meIt's midnight! Somebody kiss me! It's midnight!

  • So stick with me. All of Decemberwe're learning English with TV.  

  • We're going to follow the pact and watch  how it falls apart, and you're going to  

  • improve your listening comprehension along the  way. If you love this kind of analysis video,  

  • I have over 150 that aren't on my YouTube channelin my online school Rachel's English Academy.

  • There's also audio that goes with each lesson  to help you train your imitation skills, and  

  • really change your habits, this kind of training  will transform your voice and your confidence.  

  • To sign up, visit rachelsenglishacademy.com

  • While you're waiting for next week's video  to drop, check out more of the videos on  

  • my YouTube channel, including this one. And  don't forget to subscribe with notifications.  

  • I make new videos on the English language  every Tuesday. And I don't want you to miss  

  • any in this awesome December 2020 series, where  we study four scenes from the Friends New Year's  

  • episode of season one. Okay guys, that's itand thanks so much for using Rachel's English.

Today, we're taking a scene from TV. An episode of  

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    Summer 發佈於 2020 年 12 月 01 日
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