Happy Holidays! Let’s study the American English pronunciation by looking at this
scene from Friends from one of their holiday episodes. We’re going to go in-depth with
understanding the pronunciation. This is going to help you improve your
listening comprehension and your spoken English skills. Let's dive right in. First, the scene.
Before this scene, Ross has told Rachel all of the reasons why he’s not interested
in her romantically and they weren’t flattering. So he is now telling her,
you tell me what you don’t like about me and her response is pretty great.
Hey Rach. You know what? I think, I think I know what will make you feel better.
How about you make a list about me?
I’m not going to stand here...
And make a list of...okay. You’re whiny, you are, you are obsessive,
you are insecure, you’re, you’re gutless.
You know, you don’t ever, you don’t, just, sort of, seize the day, you know?
You liked me for, what? A year?
And you didn’t do anything about it.
And, uh, uh. You wear too much of that gel in your hair.
Now, let’s do an in-depth analysis of everything we heard.
Hey, Rach. Hey, hey, hey. Hey, a little bit flatter, less loud
her name Rach. And he’s shortening it using a nickname more familiar,
Rach. Up down shape of stress, names and other proper nouns are pretty much always stressed,
so there will be at least one stressed syllable there. Rach.
All smoothly linked together, no breaks, so it feels just like one continuous line of sound, you
know what? First going down and up. You know what? Notice there’s no T release there at the end for
that T. That’s a stop T, and abrupt stop. What? What? And that’s what signifies to us the T. The
T is pronounced this way at the end of phrases or when the next sound is a consonant. You know what?
Do you notice how the word you is pronounced ye. It’s not you know what? But he’s reducing that,
I would write that in IPA with the Y sound and the schwa, ya. Ya,
ya, ya. You know what? You know what? Make that as smoothly as you can. Let
me say that last thing again. Make that as smoothly as you can. You know what?
I think I know what will make you feel better?
If you love this kind of in-depth analysis of American English pronunciation, I really
encourage you to check out my online courses at Rachelsenglishacademy.com. We have one on
all sorts of different Hollywood scenes. There are over 50 there to choose from. From movies,
from TVs, and in all of them we take a scene, we study it, we do that in-depth pronunciation
analysis together. The best part though is each video comes with an audio soundboard
so you can train the little mini phrases yourself and really get it into your voice.
And when you listen in slow motion it helps you really hear the rhythm,
the stress and the linking. So be sure to check
out Rachelsenglishacademy.com. Let’s get back to our scene.
I think, I think I know what will make you feel better?
I think, I think. He’s going up here and it’s very smooth, no break between I and think. I think.
Then there’s a tiny pause, maybe a little bit lift while he repeats himself. I think, I think.
I think I know wheat will make you feel better?
I think, I think I know. I think I know. Again, everything here is just linking together really
smoothly and make sure for the th in think, that’s an unvoiced th. Make sure that your
tongue tip does come through that teeth for that really lightly. Think. I think, I think, I think.
If you have a hard time with that sound, you’ll want to slow it down to make sure you can focus
in on that tongue movement. I think and just feel the lightness of the tongue through the
teeth not stopping the air, just do that over and over until it starts to feel natural.
I think I know what will make you feel better.
So lots of stressed words there. I think I know what will. Both unstressed. What’ll
make you feel better. And maybe a little bit on better but coming down so think,
know, feel. Verbs are almost always stressed in a sentence.
I think I know what will make you feel better.
But let’s just look at the first four words. Notice how I is less stressed. I think,
I know. So I is I, I, I, I. Lower in pitch, less energy,
linking together smoothly. I think I know. Try that with me. I think I know.
I think I know what will make you feel better.
What will. That gets reduced. What apostrophe ll. What’ll, what’ll. So by making this an
apostrophe we’re just adding schwa l at the end, what’ll, what’ll. That’s going
to turn this T into a flap T which can sound like a d between vowels in American English,
what’ll, what’ll, what’ll, what’ll. Not will but what’ll, know what’ll, know what’ll, know what’ll.
I know what will make you feel better.
What will make you feel better.
Make you. Do you feel how make is higher than you. This change of pitch is part of
natural American English. Some of my students don’t have enough distance between their highs
of their stressed syllables and their lows of their unstressed syllables and
that makes them a little bit harder to understand. So make sure you’re matching
that pitch so that you’re feeling the pitch difference. Make you feel better.
Feel better. And he brings his pitch up a little bit at the end. This shows that
he’s going to go on. His idea continues. Feel better. A couple things about sounds here. The
double T here is again a flap T. A T is almost always a flap T when it comes between vowel or
diphthong sounds like it does here. It comes between e and the schwa, better, better. Now,
the L here is a dark L. L’s are dark L’s if they come after the vowel or diphthong in the
syllable. So here it’s the end of the word so we know it’s a dark L. So we make that sound with the
back of the tongue. Feel. Pressing down and back a little bit, the tip of the tongue doesn’t lift,
it doesn’t have to lift. So, see if you can do that . Feel better. Without lifting your
tongue tip for the L, it will probably make the dark sound a little bit more clear. Feel better.
How about you make a list about me?
So now he really stresses you and me because he made a list about her so how about you,
how about you. Lots of stress there. It’s longer, lots of up down shape.
How about you. So how and about are bot a little faster, less important here because he’s using
you. So how about. He drops the first syllable there. So it becomes how about, how about, how
about, how about. Said quickly, said simply with a stop T at the end. How about, how about you.
Breaks it up here a little bit. The more you break something up, the more dramatic it is. How about
you make a list. List, the noun the most stressed word here. So our most stressed words are usually,
verbs, nouns, adverbs and adjectives but not all of them are always going to be stressed.
For example here the verb ‘make’ is less stressed than the noun list. Make a list. Make a, do you
hear that, it all links together smoothly, the K releases into the schwa which goes right into the
L. This one is a light L because it begins the word. You do lift your tongue tip. Make a list.
The T here in list, we do hear that released, tt, tt, list, list. That’s because it’s a part
of a cluster. I said before like in the word about. If a T ends a word that it will often
be a stop T not if it’s part of a cluster. If it’s part of a cluster, it’s going to be a light true
T unless it links into a consonant then it might be dropped. I know the T rules are so confusing.
So really stressing me , here he doesn’t drop the first syllable of about, we do
hear that it’s a schwa, about me and stress on me, stop T there. About, about, about me.
What?
Super high. Try to match that pitch. What? What? Goes up a little bit,
cut off abruptly for that stop T.
What?
Forget it. Forget it Ross. So, the phrase forget it, three syllables, the middle one is stressed.
Forget it. And it links together really smoothly. The T links into the vowel that turns that into
a flap T to link. I love linking with the flap T, it’s so smooth. In American English,
we really value smoothness, forget it, forget it. And a stop T, the T is not released. Now,
look here the word looks like it might be pronounced for but it’s for, for,
forget it. Just don’t worry about the vowel there at all. For, for, for, forget it.
Forget it Ross. She goes down, it’s a statement,
she doesn’t want to do it. Ross, no. Again, a statement, very clear, I don’t want to do that.
So everything is said pretty quickly, I am not going to becomes I’m not gonna, I’m not gonna.
Which really brings emphasis on the word stand. I don’t want to do that. I won’t,
don’t wanna be here doing that. So I’m not going to becomes I’m not gonna,
I’m not gonna. Said quickly, stop T here, abrupt stop of air. I’m not gonna.
Going to becomes gonna and everything links together smoothly, I’m not gonna stand.
Stand here. So she keeps going while he says come on.
So stress not on come but on come on on. Come on Rach. So we can think of
this as just being a K sound and then the word er that sounds man,
man come on. You might see it written like this: C’mon, C’mon and he actually
doesn’t just say come on. He says come on Rach. Again, that nickname, come on Rach.
Come on Rach.I think It’ll and he says It’ll. Just lke he said what’ll earlier. The apostrophe
L is a schwa dark L sound and that turns that T into a flap T. I think it’ll I think it’ll,
I think it’ll. It’s a little harder to hear because they’re both talking at the same time.
Stand here and make a list of--
So she’s still talking here as he’s talking. And make a list of. This is what she doesn’t
want to do. And make a list of. List, our noun, make our verb. Both stressed.
And make a list of. And, and, and. No D there, and, and, and. The vowel here unclear. And make,
and make, and make. Linking together really smoothly. And make a. I would write that as
the schwa, and make a list. Again, this L is a light L because it begins the word so you
do want to lightly lift. The tip of your tongue to the roof of your mouth. And make a list of.
Okay, you’re whiny. So, she badgers her enough that she gives up and she
is going to go over her list. So even though she just said she didn’t want to,
she goes right into the word okay and right into her list. No breaks at all.
Okay, okay, you’re whiny. Okay, second syllable stress, linking right into your and whiny,
whiny. First syllable stress, it’s going up in pitch because it’s a list and with lists,
we go up in pitch. For each item on our list until the last one where we go down. So, you’re whiny,
that intonation that goes up shows there’s more to come on this list. Okay, you’re whiny.
Notice the words ‘you are’ in contraction become you’re, you’re. It’s as if there’s
no vowel there. You’re, you’re, you’re, you’re, you’re. She doesn’t say you’re,
she says you’re. She doesn’t say you are. She says you’re, you’re,
you’re, you’re. See if you can make that simplification. You’re,
you’re, you’re whiny. Now this H here isn’t pronounced, it’s just a clean W sound. Whiny.
It’s a little hard to tell because of the laughing, I’m not sure if she
actually repeats this but now she’s not doing a contraction, she’s saying you are, you are,
you are. But they’re not stretched. They’re still lower in pitch compared to the adjective
she’s about to say. You are obsessive, much clearer. Obsess, it’s got second
syllable stress and then it goes up because guess what? Her list isn’t over. Obsessive.
You are. So again, not doing the contraction but they’re flat. You are,
you are. That shows unstressed.
You are obsessive, you are insecure. Do you hear how they sound different? It’s the difference
between stressed and unstressed. Unstressed words are going to be a little bit flatter,
a little bit quieter sometimes, less energy, and then our stressed words in this case,
our adjectives are louder and we have much more pitch variation there. That makes them more clear.
You are insecure. And do you hear insecure, she goes up because guess what,
she’s not done, there are still more things she doesn’t like about Ross.
So she pronounces that insecure but you’ll also hear insecure, cure, cure, cure or cure.
You're, you’re, you’re, you’re, you’re, do you hear how flat those are. You’re,
you’re, again one of the differences between stressed and unstressed words.
Gutless, gutless. A lot more pitch variation there because it’s stressed and it goes up because she’s
still has more things she wants to say about Ross. There are still more things she doesn’t like about
Ross. Poor Ross, he should never asked for this list. Gutless. Do you hear how there’s not tt,
tt sound there. It’s a stop T because it’s followed by a consonant. Gutless, gutless.
You know, you don’t ever, you don’t just,
You know, you know, this is just a filler phrase, you know, you know. And again,
just like before, the word you was reduced and here it’s also reduced. It’s not you,
it’s you, you, you know, you know, that’s a question. Do you understand
what I’m talking about? You know, you know, really smoothly linked together.
You know, you don’t ever you don’t just sort of seize the day.
So what she’s saying here is you don’t seize the day. All of this or you don’t ever seize the day,
this is repetition, just and sort of are filler words as she’s thinking about how
to articulate this criticism. So, they all come by pretty quickly
You know, you don’t ever you don’t just sort of seize the day.
But I want to talk about the pronunciation of the n apostrophe t. There are several different ways
that Americans might pronounce that and here she’s saying you don’t ever, you don’t ever.
She’s doing a little lift here, a little bit of a stop T feeling. We don’t hear tt, don’t but
it’s also not dropped, it’s a stop T. You don’t ever. You don’t, you don’t, you don’t, you don’t.
So the T in just is dropped. That’s really common when it’s followed by a consonant. Just, just
,just. Not much of a vowel here. You might think this word is just uh but it’s often reduced so it
sounds like it’s maybe written with an I, just or a schwa, just, just, just. So it’s not very fully
or clearly pronounced a lot of the time because it’s a filler word. Just sort of, just sort of.
What else is happening? The T gets turned into a flap T as it links the two words together. A
T is a flap T if it comes between two vowel or diphthongs or if it comes after an R before a
vowel. Here the word of is reduced to the schwa so the T comes between R and schwa, that’s a flap T,
sort of, sort of, sort of, sort of, just sort of, just sort of, just sort of, just sort of.
Seize the day. So, the verb seize is stressed,
seize the day, and so is the noun day. You know it’s stressed because there’s a change of pitch,
it goes up and then down or down and up. Seize the, and the Z sound links right into the the,
the schwa links right into the D, no breaks, no separation in the words. Seize the day. This means
to get done what you want to get done in the day, don’t put it off for another day. Seize the day.
Seize the day, you know? Again, just this sort of little filler phrase,
you know? Looking for agreement, the word you reduced, ye, ye, ye, you know? Going up in
pitch because it’s a yes no question even though she’s not expecting him to answer it. You know?
You like me for what? Okay, so again, you reduces to ye. You liked, you, you, and we have stress on
our verb, you liked me for what? A year? Okay now, let’s talk about the Ed ending here. The Ed ending
makes a T when the sound before is unvoiced like the K. Like, you liked me. But sometimes,
we drop the T when it comes between two consonants. Here, T comes between K and M.
And you know what? I don’t hear it, I don’t hear T, I don’t hear the ed ending at all. So, this is
a case where the past tense can sound just like present tense in conversational English. I have
a series of videos on the ed ending, we give lots of examples so you start to hear this and notice
this, so check out Rachel’s English ed ending and you’ll find the video series that explains this.
You liked me for, you liked me for. The word for reduces, f schwa r, for,
for, for. You like me for. So, no T sound, not you liked me for but you liked me for.
You liked me for what? A year? Now, I notice more linking. You liked me
for what? A year? What a, what a, flap T linking into the schwa, of a year,
what a year? What a year? This kind of linking and smoothness is so characteristic
of American English but it can make it hard to understand if you don’t know about it.
You liked me for what? A year?
Also, the wh in what, just pronounced as a w what,
what, what is the uh as in butter vowel here. What, what, what a,
what a, what a, what? A year? What? A year? And make sure you connect your schwa into the Y sound.
It can be hard sometimes for my students to connect that smoothly
but there’s no break there. It’s not a year, a year. It’s not a jeer,
a jeer. But it’s a year? Schwa right into the Y sound. Now, ih as in sit followed by schwa R
isn’t quite pure so the I as in sit is a more like an e vowel. Year? A year? What? A year?
And you didn’t do anything about it?
More stress here and you didn’t do anything about it. Stress on didn’t,
stress on anything. First syllable stress there and about it. Stress there,
change in direction and a stop T at the end. We don’t hear it, about it? Let’s
look at our reductions. What words are said so quickly that a sound is dropped or changes.
And you didn’t do anything about it?
And you didn’t, and you didn’t, and you didn’t. And becomes just an n
sound nn. nyuh, nyuh, nyuh. It links right into the reduction on you which
becomes yuh. Nyuh, nyuh, nyuh, nyuh. Try that. Nyuh, nyuh. And you, nyuh. This is
how we combine and smooth out less important words. And you, and you.
And you didn’t do anything about it. About [flap], a flap of the tongue there
to link the two words together. The T comes between a diphthong,
the au diphthong and a vowel, e vowel links with a flap, about it, about it.
And uh. Okay, she slows down a little bit, we do get a full pronunciation of and the d links
right into the thinking vowel uh. And uh, and uh. Pitch is going up, she has one last thing to say.
Oh, you wear too much of that gel in your hair.
Oh, you wear too much of that gel in your hair. So we got a bunch of these up down
shapes of stress. Oh, you wear, going up too much to our adverb. Too much of that
gel. Gel in your hair. So we have three stressed words in that phrase and overall,
the trend of this is down because it’s a statement, it’s the last of our list. So
remember for a list, intonation goes up until the last one and then intonation goes down.
Oh, you wear too much of that gel in your hair.
You wear too much. You wear, you wear, you wear. A couple things to notice here. First,
the you reduction. Again becomes yuh. You wear. Also,
it’s linked together smoothly and it’s all going up. You wear, you wear,
and then we change direction on the stressed syllable. Too. You wear too, and this does
have a strong clear true T at the beginning, a nice crisp release of air. Too, you wear too.
You wear too much of that gel in your hair.
Too much of that gel in your hair. And it all kind of tumbles down like a waterfall
with a couple little up downs on gel and hair. Too much of that,
too much of that. The word of becomes just a single sound, the schwa,
linking the ch of much and the th of that. Much of that, much of that, much of that.
And there’s a stop T at the end of that. No T release,
too much of that gel, too much of that gel.
Gel in. Again, linking in smoothness, the L goes right into the ih vowel of in, gel in,
gel in your. Your becomes yer. Your, your, your, your reduced vowel said more quickly. Gel in your,
gel in your, gel in your, gel in your hair. Uhuhuh. You know you can practice a phrase
just on uh. Uhuhuh. That helps you feel the pitch and the melody of it. It can also help
you feel the smoothness. It can help you think of it as one line and not a bunch of separate words.
Ross’s ego has just been torn down as his friends decorate the Christmas tree
in the background. Let’s listen to this conversation one more time.
Hey Rach. You know what? I think, I think I know what will make you feel better.
How about you make a list about me?
I’m not going to stand here...
And make a list of...okay. You’re whiny, you are, you are obsessive,
you are insecure, you’re, you’re gutless.
You know, you don’t ever, you don’t, just, sort of, seize the day, you know?
You liked me for, what? A year?
And you didn’t do anything about it.
And, uh, uh. You wear too much of that gel in your hair.
Thank you so much for studying with me, I love doing this kind of scene analysis.
If you like this kind of exercise, I have many, many lessons like this in my Academy.
We’re taking scenes from movies and TV and we’re doing a full analysis then you have
a soundboard to work with the audio so that you can really take what you’ve learned and
get it into your body to transform your own accent. If this sounds interesting to you,
check out Rachelsenglishacademy.com. In the meantime, please subscribe with notifications on,
I absolutely love being your English teacher. And you can keep your learning going right now
with this video. That’s it and thanks so much for using Rachel’s English.