Session 2 21F.223 Listening, Speaking, and Pronunciation

PROFESSOR: Now, what do we call these things-- pan out? What do you call these things-- pan out and to make up? To pan out, to make up. We call these things-- AUDIENCE: Phrasal verbs. PROFESSOR: Phrasal verbs. Phrasal verbs, OK? A verb usually has-- phrasal verbs usually have one verb and one particle, or it could have two more-- one particle and one preposition at the end. So what's the difference between a particle and a preposition? Does anybody-- what's a preposition? Give me some examples of prepositions. Prepositions. AUDIENCE: In. PROFESSOR: In. AUDIENCE: Of. PROFESSOR: Of. Of-- O-F, of. AUDIENCE: From. PROFESSOR: At, from-- OK, those are prepositions, right? Out, up-- these kind of look like prepositions, but they actually have some meaning. These are called adverbial particles. Adverbs-- they have some meaning. So now, if you turn to this handout, which is page 65 in your course packet. Page 65. Do you see where we left off last time? OK, this sentence-- compare these two sentences. Compare these two sentences. What do we stress here in this sentence? AUDIENCE: Looking. PROFESSOR: Looking. OK, looking. She was looking at me. [INAUDIBLE] She was looking at me. AUDIENCE: She was looking at me. PROFESSOR: She was looking at me. AUDIENCE: She was looking at me. PROFESSOR: OK. What about this one? AUDIENCE: Away. PROFESSOR: She-- AUDIENCE: --looked away. PROFESSOR: She looked away from me. AUDIENCE: She looked away from me. PROFESSOR: So there's more stress on away. She looked away from me. AUDIENCE: She looked away from me. PROFESSOR: She looked away from me. AUDIENCE: She looked away from me. PROFESSOR: "Look-ed, look-ed," OK? Linking-- she looked away from me. AUDIENCE: She looked away from me. PROFESSOR: She looked away from me. AUDIENCE: She looked away from me. PROFESSOR: OK, so if a phrasal verb has a preposition, preposition does not get any stress. No stress, so it gets reduced. She was looking at me. She was looking at it. Instead of at-- instead of at, you say something like "ut." She was looking at me. AUDIENCE: She was looking at me. PROFESSOR: She was looking at me. AUDIENCE: She was looking at me. PROFESSOR: But here, she looked away from me. AUDIENCE: She looked away from me. PROFESSOR: She looked away from me. AUDIENCE: She looked away from me. PROFESSOR: OK, so there's more stress on the last word-- pan out. AUDIENCE: Pan out. PROFESSOR: Make up. AUDIENCE: Make up. PROFESSOR: Pan out. AUDIENCE: Pan out. PROFESSOR: Make up. AUDIENCE: Make up. PROFESSOR: OK, so let's compare these two sets of examples. Which words would you stress in this sentence? AUDIENCE: Called. PROFESSOR: Called and-- AUDIENCE: Call. AUDIENCE: She called on me. PROFESSOR: Let me get my pen. OK. There's more stress on she called on the phone. She called on the phone. AUDIENCE: She called on the phone. PROFESSOR: She called on the phone. AUDIENCE: She called on the phone. PROFESSOR: What about this? AUDIENCE: She called off the meeting. PROFESSOR: She called off, OK? There's stress here, stress here, and stress here. But there is no stress here, OK? So she called on the phone. AUDIENCE: She called on the phone. PROFESSOR: She called off-- she called off the meeting. AUDIENCE: She called off the meeting. PROFESSOR: She called off the meeting. AUDIENCE: She called off the meeting. PROFESSOR: OK. She called off the meeting. AUDIENCE: She called off the meeting. PROFESSOR: What about this one? AUDIENCE: You have many-- you have many things to think about. AUDIENCE: Think about. AUDIENCE: Think about. AUDIENCE: You'll get an [? A. ?] PROFESSOR: This one gets more stressed, OK? Think about. AUDIENCE: Think about. AUDIENCE: Think about. AUDIENCE: Think about. PROFESSOR: You have many things to think about. AUDIENCE: You have many things to think about. PROFESSOR: You have many things to think about. AUDIENCE: You have many things to think about. PROFESSOR: But this one? AUDIENCE: [INAUDIBLE] PROFESSOR: Bring about. AUDIENCE: Bring about. PROFESSOR: Bring about. AUDIENCE: Bring about. PROFESSOR: OK. That's a change we'd like to bring about. AUDIENCE: That's a change we'd like to bring about. PROFESSOR: That's a change we'd like to bring about. AUDIENCE: That's a change we'd like to bring about. PROFESSOR: OK. Now, here, I'm telling you, this is a preposition here, but this is a particle. OK, so we put stress here. There's no stress here. Stress here, but there is one more stress here. So if you say-- so say this. AUDIENCE: She turned on a red light. PROFESSOR: There's stress here, definitely, because these are content words. She turned on a red light. AUDIENCE: She turned on a red light. PROFESSOR: She turned on a red light. But this one-- AUDIENCE: She turned on a red light. PROFESSOR: She turned on a red light. AUDIENCE: She turned on a red light. PROFESSOR: What's the difference? AUDIENCE: Meaning is different. PROFESSOR: OK, what's the meaning? Someone? AUDIENCE: An example is, she drive car. She take a left [INAUDIBLE]. PROFESSOR: Which one, the first one or the second one? First one? OK, they're driving, and she turned on a red light. She turned on a red light. OK. And you can get a ticket. Oh. You can make a right turn on a red light, but-- AUDIENCE: Sometimes-- [INTERPOSING VOICES] PROFESSOR: In LA, you can make a left-- you can make a right turn on the red light any time. AUDIENCE: But not in Boston. PROFESSOR: Not in Boston, really? AUDIENCE: Yeah, no turn on red. AUDIENCE: No turn on red. AUDIENCE: There is some signs with no turn on red. PROFESSOR: But if there's no sign, can you turn on a red? AUDIENCE: Yeah. AUDIENCE: Yeah, you can turn. PROFESSOR: OK. In Korea, can you turn on a red light? AUDIENCE: Yes. PROFESSOR: Right turn? AUDIENCE: Right turn. PROFESSOR: Oh, you could do that? Oh, OK. This one. What does that mean? AUDIENCE: Switched on. PROFESSOR: Turned on. She turned on a red light. She turned on, OK? She turned on. OK, so you say, turn it on, right? Turn it on. AUDIENCE: Turn it on. PROFESSOR: Turn it on. AUDIENCE: Turn it on. PROFESSOR: Turn it on. AUDIENCE: Turn it on. PROFESSOR: OK. AUDIENCE: Turn it on. PROFESSOR: Sometimes it's easy to tell whether something is a particle-- adverbial particle or a preposition. But sometimes, it's kind of hard to tell. Most of the time-- not all the time. Most of the time, if you could put if you could move the word, then it's a particle. Turning it on-- turning it on, or turn on the red light. But let's talk about your problem. You can't say, let's talk your problem about. So that's a preposition, usually. Any questions about this? AUDIENCE: [INAUDIBLE] say this again or based on that, she turned-- turned on-- PROFESSOR: She turned at a red light. She turned-- there's more stress in here. She turned on a red light. But here, this one gets-- she turned on. So the most important thing is here it becomes turned on. AUDIENCE: Turned on. PROFESSOR: You don't say turned on. Turned on. She turned on-- turn-- she turned on a red light. So the vowel is-- AUDIENCE: --red light. AUDIENCE: She turned on-- PROFESSOR: Where's my chalk? Here, the first one would be turn-- "turn-dun," "turn-dun," "turn-dun." The vowel is a schwa because it gets reduced. But the second one-- AUDIENCE: Turned on. AUDIENCE: Turned on. AUDIENCE: Turned on. PROFESSOR: --turned on, OK? Turned on. Turned on. The vowels are different-- turned on. Turned on-- turned on a red light. She turned on a red light. Turned on. OK, today we're going to try to do three things. We already talked about phrasal verbs. And we're going to talk about-- we're going to discuss chapter-- unit 8 of our listening book. And then we're going to talk about sentence stress and rhythm. For homework for Thursday, I want you to read chapter 9 of our textbook Accurate English and do unit 7 of our listening book. For that listening book, turn to page 95. This is for homework. Turn to page 95. This is your-- I'm looking at this book. Something's wrong here. Keep them separated. OK, page 95. Page 95. OK, you have the sentence under notice, right? Imagine if Wall Street-- did you find those two sentences starting with imagine on page 95? Yes? Yes. Everyone-- yes? Page 95. I want you to listen to that as many times as you need to. OK? OK. OK. OK, where did that come from? OK. And then, I want you to come up with a phonetic transcription. Analyze the sentences-- the words in bold-- words in bold, especially-- I'm going to write this here. This is in the first sentence. The second sentence we have-- We have this in the first sentence, right? Listen very carefully how the speaker actually says had known. She's not going to say, had known. She's going to pronounce it a little differently because it occurs in irregular speech. Certain things get reduced. This one, again, she's not going to say, they'd have sent him. She's not going to say, they'd have sent him. She's going to say it in a different way. She's going to reduce certain sounds. So I want you to write a phonetic transcription of this string, like they-- do the linking, too. Do the linking. And we'll do that on Thursday. OK. Let's turn to-- any questions about the homework? OK. Chapter 8 in your book. Let's turn to page 104 and 105. 104 and 105. 104 and 105-- vocabulary. Vocabulary. OK, how do you say the first one, first word? Page 104. AUDIENCE: Co-pay. PROFESSOR: Huh? AUDIENCE: Co-pay. PROFESSOR: Co-pay. AUDIENCE: Co-pay. PROFESSOR: Co-pay. Co-pay. There is more-- this works like a compound. Co-pay-- two stresses. Co-pay. More stresses on the co. Co-pay. AUDIENCE: Co-pay. PROFESSOR: What does that mean? Anyone? AUDIENCE: Pay together. PROFESSOR: Pay together? No. We have the definition on page 105. 105. 105. OK, [INAUDIBLE], 105. AUDIENCE: Paid by-- PROFESSOR: [INAUDIBLE]. This was homework, people. Home-- it's supposed to be done at home. OK, who's done homework? Who's done this homework? OK. [INAUDIBLE], yeah. Number 1. Number 1-- co-pay. AUDIENCE: [INAUDIBLE] being paid by insurer [INAUDIBLE] for the [INAUDIBLE]. PROFESSOR: Louder. AUDIENCE: Being paid by insurer-- insurer [INAUDIBLE] doctors receive. PROFESSOR: OK, insured-- what's the next one? AUDIENCE: Patients. PROFESSOR: "Pay-shunts," "pay-shunts." AUDIENCE: Patients. PROFESSOR: Patients. OK, patients. OK, number two. Number two. [INAUDIBLE], number two. AUDIENCE: [INAUDIBLE] PROFESSOR: Louder, louder. AUDIENCE: OK. [INAUDIBLE] by one's insurance company. Number A. AUDIENCE: A. PROFESSOR: Number-- OK, letter A. Letter A. One more time. One more time. AUDIENCE: Main source of medical care provided by one's insurance company. PROFESSOR: Main source of medical care AUDIENCE: Provided-- PROFESSOR: Provided. Very good. Provided. Everyone, provided. AUDIENCE: Provided. PROFESSOR: Provided. AUDIENCE: Provided. PROFESSOR: That's very important-- having the flap. Provided. That's the past participle. Provided. AUDIENCE: Provided. PROFESSOR: OK, next. Next. Who wants to do the number 3? OK. Read the vocabulary word, too. AUDIENCE: Fed up with. PROFESSOR: Huh? AUDIENCE: Fed up with. PROFESSOR: OK, we just did this together. Now, we have three words here. Among the three words, which one is going to get most stress-- the strongest? AUDIENCE: The middle one. PROFESSOR: Up. Up. Fed up with. AUDIENCE: Fed up with. PROFESSOR: They're fed up with this system. AUDIENCE: Fed up with this system. PROFESSOR: OK. They're fed up with this system. AUDIENCE: Fed up with this system. PROFESSOR: I'm fed up with this. AUDIENCE: Fed up with this. PROFESSOR: I'm fed up with this. AUDIENCE: I'm fed up with-- PROFESSOR: I'm fed up. OK, that becomes a flap-- fed up. AUDIENCE: Fed-- PROFESSOR: D becomes a flap because it comes between two vowels. Fed up. AUDIENCE: Fed up. PROFESSOR: Fed up. [ROLLS TONGUE] Fed up. AUDIENCE: Fed up. PROFESSOR: Fed up. AUDIENCE: Fed up. PROFESSOR: OK. Fed up with the system. AUDIENCE: Fed up with the system. PROFESSOR: The answer is-- AUDIENCE: Tired of-- AUDIENCE: Tired of. AUDIENCE: Tired of. PROFESSOR: OK, do the linking. Tired of. Tired-- now, that becomes a flap, too. Tired of. AUDIENCE: Tired of. PROFESSOR: Tired of. AUDIENCE: Tired of. PROFESSOR: Tired of. AUDIENCE: Tired of. PROFESSOR: Tired-- da, da, da. Tired of. AUDIENCE: Tired of. PROFESSOR: OK, next. Number 4. Number 4. [? Jadine. ?] AUDIENCE: Acute care. PROFESSOR: "A-choot?" AUDIENCE: Acute. PROFESSOR: Acute care. AUDIENCE: Uh, G. PROFESSOR: OK, read the-- AUDIENCE: Medical care for people with sever injuries or illness [INAUDIBLE]. PROFESSOR: Oh. OK, medical care for people with severe-- the stress is on "vere"-- severe-- severe injuries. Or what-- next one. Ill-- read the word, [? Jadine. ?] AUDIENCE: Illnesses. PROFESSOR: Huh? AUDIENCE: Illnesses. PROFESSOR: Illnesses. OK, it's a plural. Illnesses. Illnesses. AUDIENCE: Illnesses. PROFESSOR: Illnesses. AUDIENCE: Illnesses. PROFESSOR: OK, number 5. Number 5. 5. [INAUDIBLE] AUDIENCE: Itemized. Itemized. PROFESSOR: Huh? AUDIENCE: Itemized. PROFESSOR: Itemized. AUDIENCE: Itemized. PROFESSOR: T becomes a flip-- itemized. AUDIENCE: Itemized. PROFESSOR: Itemized. AUDIENCE: Itemized. PROFESSOR: And the answer? AUDIENCE: With all the parts listed. PROFESSOR: One more time. AUDIENCE: With all the parts listed. PROFESSOR: With all. AUDIENCE: With all. PROFESSOR: Your tongue-- with all. With all the parts listed. AUDIENCE: With all the parts listed. PROFESSOR: With all the parts listed. AUDIENCE: With all the-- PROFESSOR: With all. With. With all. OK, you say "wi" first-- "wi-thall." "Thall," "thall," OK? With all the parts listed. AUDIENCE: With all the parts listed. PROFESSOR: OK, 6. Back there-- [INAUDIBLE]. AUDIENCE: [INAUDIBLE] PROFESSOR: One more time. AUDIENCE: [INAUDIBLE] PROFESSOR: Very good. The answer-- AUDIENCE: [INAUDIBLE] PROFESSOR: Loud. Loud. Loudly. AUDIENCE: [INAUDIBLE] PROFESSOR: Very good. Motor. Motor. That becomes a flat-- motor. AUDIENCE: Motor. PROFESSOR: Motor vehicles. AUDIENCE: Motor vehicles. PROFESSOR: And machinery. AUDIENCE: And machinery. PROFESSOR: Number 7. 7 is hard. Who wants to do number 7? Number 7? [INAUDIBLE], OK. AUDIENCE: I'm osteopath. PROFESSOR: Very good. AUDIENCE: Is letter C. A doctor-- doctor who treats muscles and bones. PROFESSOR: A doctor. AUDIENCE: Doctor. PROFESSOR: Doctor. Becomes an unaspirated T-- doctor. "Duh." Doctor. AUDIENCE: Doctor. PROFESSOR: A doctor who treats muscles and bones. OK, osteopath. AUDIENCE: Osteopath. PROFESSOR: There is a primary stress on "ah" and a secondary stress on "path." Osteopath. AUDIENCE: Osteopath. PROFESSOR: Osteopath. AUDIENCE: Osteopath. PROFESSOR: OK, 8. 8. AUDIENCE: Bruise. PROFESSOR: 8. 8. 8. OK. AUDIENCE: Bruise. AUDIENCE: Letter J. PROFESSOR: Letter what? AUDIENCE: J. PROFESSOR: J? No. AUDIENCE: J. PROFESSOR: J. J. [HUMMING] "Jeh." Lip-rounding "jeh." J. OK. OK, the answer. AUDIENCE: Purple or brown mark on your skin from a fall or hit. PROFESSOR: OK. Purple or brown mark-- mark-- mark on your-- "mar-kuh." Mark on your skin. "Mar-kuh. Mark on your skin. Linking through the linking-- mark on your skin. AUDIENCE: Mark on your skin. PROFESSOR: "Mar-kuh." AUDIENCE: "Mar-kuh." PROFESSOR: Mark on your skin. AUDIENCE: Mark on your skin. PROFESSOR: Mark on your skin. AUDIENCE: Mark on your skin. PROFESSOR: OK, 9. 9. 9. [INAUDIBLE] AUDIENCE: "Sooter" tray. PROFESSOR: Oh. "Sooter"-- OK, that's actually-- that's a good, good guess. [LAUGHTER] Good guess. Very-- I'm really happy that you said "sooter" because he's actually applying the rule that we learned in class. T becomes-- T between two vowels becomes "sooter." But you should have looked it up in the dictionary, OK? AUDIENCE: I'll look it up. PROFESSOR: OK, [INAUDIBLE]. AUDIENCE: Suture tray. PROFESSOR: Very good. Suture. Suture tray. The answer is-- AUDIENCE: Letter E. PROFESSOR: Letter-- AUDIENCE: E. PROFESSOR: E. AUDIENCE: Tray with material for sewing a wound. PROFESSOR: Very good. Sewing a wound. AUDIENCE: Sewing a sound. PROFESSOR: 10. 10. [INAUDIBLE] AUDIENCE: Sterilized. K-- completely clean from any bacteria. PROFESSOR: One more time. AUDIENCE: Completely clean from any bacteria. PROFESSOR: Bacteria. AUDIENCE: Bacteria. PROFESSOR: Bacteria. AUDIENCE: Bacteria. PROFESSOR: OK, 11. [INAUDIBLE] AUDIENCE: [INAUDIBLE]. Letter D. The action of taking drugs through a needle. PROFESSOR: OK, one more time? AUDIENCE: The act-- the act of [? bringing ?] out drugs through a needle. PROFESSOR: "S-roo"? "Sss--" AUDIENCE: Through. AUDIENCE: Through. PROFESSOR: Through. Through. Through a needle. AUDIENCE: Through a needle. PROFESSOR: Through all needle. AUDIENCE: Through a needle. PROFESSOR: That D becomes a flap, too. Needle. AUDIENCE: Needle. PROFESSOR: Needle. AUDIENCE: Needle. PROFESSOR: Through a needle. AUDIENCE: Needle. AUDIENCE: Through a needle. PROFESSOR: Through a needle. AUDIENCE: Needle. AUDIENCE: Through a needle. PROFESSOR: OK. [INAUDIBLE], 12? AUDIENCE: Anesthetize. PROFESSOR: Huh? AUDIENCE: Anesthetize. PROFESSOR: One more time. AUDIENCE: Anesthetize. PROFESSOR: A-- AUDIENCE: Anesthetize. PROFESSOR: Anes-- don't forget the S. Anesthetize. AUDIENCE: Anesthetize. PROFESSOR: Anesthetize. AUDIENCE: Anesthetize. PROFESSOR: Anesthetize. AUDIENCE: Anesthetize. PROFESSOR: OK, here-- I told you this before, right? When you have S and "th" together, it's very difficult to go from anesthetize-- "a-nes-thuh"-- and I can do it. Anesthetize. "A-nes-thuh"-- AUDIENCE: Anesthetize. PROFESSOR: Usually, I say it like a D. "A-nest--" when S and TH-- they come together, I say like "a-nes-da-tize." I don't try to put my tongue between my teeth because it's too hard. I say, "a-nes-da-tize." OK, the answer? AUDIENCE: H. Keep a drop to stop a person from feeling pain. PROFESSOR: OK. That was a very confident answer because there is only one more left. Any questions about the vocabulary? Any questions? No. OK, I'll play the whole interview once. Track 8. At the end, what do you say? We're going to let you get back to-- we're going to let you get back-- get back to-- that, again, back is an adverbial particle, so that gets more stress. We're going to let you get back to practicing more productive medicine. When you get off the phone, you talk to your friends, you say, OK, I'm going to let you get back to your studies. OK, you talk to your office mate and then you-- OK, I'll let you get back to your work. I'll let you get back. I'll let you get-- I mean, it's an interesting phrase, right? I'll let you get-- let is like giving permission, right? But we just say it. I'll let you get back. I'll let you get back to your work. OK, I'll let you get back. Let you get back. OK, this word-- how do you say this? What's the verb? This is an adjective, right? What's the verb form? AUDIENCE: Compare. PROFESSOR: Compare, right? Compare. Verb is-- where's the stress? Compare, right? OK, this is an adjective. Now, how do you say this? AUDIENCE: "Com-pare-able." PROFESSOR: "Com-pare-able." AUDIENCE: "Com-pare-able." PROFESSOR: No. No, it's not "com-pare-able" she said in the interview. OK, stress is here. So you say-- stress is here. AUDIENCE: Comparable. PROFESSOR: Com-pa-- comparable, OK? Comparable. OK. Here-- stress is here. Compare-- well, it's here. I mean, compare-- does anyone say "comp-ah?" I mean, because I have a California accent, after R-- before R, everything is "eh." It's compare. But here, since stress is on the first syllable, it becomes-- oh, OK-- comparable. AUDIENCE: Comparable. PROFESSOR: Comparable. AUDIENCE: Comparable. PROFESSOR: Comparable. AUDIENCE: Comparable. PROFESSOR: Comparable. About the same-- they are comparable. About the same-- they can be compared. OK. There's a-- AUDIENCE: Is everything [INAUDIBLE]?? PROFESSOR: In my dialect-- in California English. OK, so we talked about this, right? Mary. Mary, merry, and-- what? What else is there? AUDIENCE: M-A-R-R-Y PROFESSOR: Oh, M-A-R-R-Y. Here, in my English-- California English-- everything is "eh." Mary, merry, marry. But my friend from New Jersey, he says my name is Barry. Barry. Barry. That sounds "harrible" to me, as they would say here. I say, horrible, but people say "harrible" here. Now, we heard this phrase in the interview. What does that mean? AUDIENCE: Start a business-- PROFESSOR: Start a-- AUDIENCE: Start a business as a lawyer or doctor. PROFESSOR: OK. Start a business as a lawyer or a doctor. Yes, usually-- originally, yes, it was either a lawyer-- first, lawyer and then doctor. But now, it means just any business-- any business. What's a shingle? Shingle. It's a sign board. It's the piece of wood. It's literally roof-- under the roof top, it's-- but here, it is the piece of wood that you use as a small sign board. It's my office. OK, hung out-- so hung out. Hung out becomes-- here it becomes a flap. Hang out a shingle. [INTERPOSING VOICES] PROFESSOR: Hung out a-- hung out a-- hung out a shingle. AUDIENCE: Hung out a shingle. PROFESSOR: OK. Now, let's turn to page 110. Page 110. Looking at language usage-- present unreal versus future real conditions. OK, here in this book, they say present unreal. So but it's more like future hypothetical. We kind of did this when we talked about unit 10, remember? Do you have-- do you have a car, [INAUDIBLE]?? AUDIENCE: Yes. PROFESSOR: No. Say, no. AUDIENCE: No. If I had a car, I wouldn't be here. [LAUGHTER] PROFESSOR: OK, one more time. Do you have a car? AUDIENCE: No. I had a car-- PROFESSOR: Had a-- I had a car. Flap-- if I had a car. AUDIENCE: If I had a car. PROFESSOR: If I had a car. AUDIENCE: If I had a car I wouldn't be here. PROFESSOR: I wouldn't-- wouldn't, wouldn't. That becomes a flap, too. Wouldn't be here. AUDIENCE: Wouldn't be here. I wouldn't be here. PROFESSOR: Why not? [INAUDIBLE].. [? Ty, ?] [? Ty. ?] Do you have a girlfriend? No, I don't want you to answer the question factually. Every answer starts with, no, if I did-- OK? AUDIENCE: No. If I did, I wouldn't be here. [LAUGHTER] PROFESSOR: OK, what does having a car, having a girlfriend company have to do with coming to class? Makes no sense. OK, so now, that's present unreal, OK? Because you don't have a car. You don't have a girlfriend right now. And present unreal is something like, if I were Spider-Man-- if I were Spider-Man-- I'm not Spider-Man, right? If I were Spider-Man, I wouldn't be living in Boston. Where would I have to live? AUDIENCE: In New York. PROFESSOR: New York. If I were Spider-Man I would be I would be living in New York, right? That's present unreal. But here, what we have, actually, is future hypothetical. It's a little different because it's something that could happen. So if you look at-- I'll play this segment. Page 110. OK, it's the point of this section is, let's say I went in went in with-- went in. Again, went in. Went in-- there's more stress in win. In-- went in with. Went in-- went in with, OK? AUDIENCE: Went in with. PROFESSOR: Let's say I went in with a bruise or a cut and you had to bandage me up. Had to-- I mean, that's strange, right? Why do you use a past-tense verb here? That's because let's say we're talking about-- AUDIENCE: Unreal. PROFESSOR: This is not real-- hypothetical situation. This is something that could happen, right? Unreal present is something like, you don't have a car. But if I did have a car-- that's unreal. I'm not Spider-Man. If I were Spider-Man-- that's unreal. But we're talking about a hypothetical situation. So this is-- actually, more correctly, we should call this future hypothetical. So if you're talking about-- and we're talking about something future. Let's say, OK, if I went in-- if I went in tomorrow-- tomorrow, if I went in-- you could do that. Tomorrow, if I went in-- if you do that, you're actually telling the listener, this is hypothetical situation. This is hypothetical situation. And you're actually showing more uncertainty. So you could actually use a past-tense verb to talk about a future event. But after a while, they start using, actually, a present-tense verb, right? So after a couple of turns, they are actually using future real conditions. And this sometimes happens in real conversations. Dr. Greg, I'd still-- I apostrophe D. That's I would still charge for my labor. I would have to. I would have to-- I'd have to. That's future hypothetical. But then, later on, she says, because my instruments will have to be sterilized-- will have to be. Now that's real conditions. OK, let's analyze the first sentence. Let's analyze the first sentence. Set [INAUDIBLE] I want you to do the linking. Link between any words, any sounds that are linked like this, and get rid of any sounds. Get rid of any sounds that are there that we don't say. [INTERPOSING VOICES] PROFESSOR: OK, I'll start you off. Here, we say-- we have the first linking or blending. Let's say-- instead of, let's say, we say, let's say. Let's say, right? Let's say. OK. OK, who was do the rest from here to here? And who wants-- 1, 2, 3. 1, 2, 3. Number 1-- any brave soldier? Number 1. 1-- 1. Remember, I want you to be wrong so I can teach you something. Hurry up. Hurry up, we don't have all day. OK, number 1. 2-- number 2. 2, 2. 2, 2. Very good. [INAUDIBLE], 2. And 3. 3. And get rid of-- cross out of the sound that you don't say. If we add a sound, add a sound. Add a sound. OK, what do you think? AUDIENCE: Great. PROFESSOR: Great. Great. Great. Any other disagreements? Does anybody want to add anything else? No? OK, let's talk about the first one. Let's say-- this is good. All right, let's say-- there is more stress here. "Wen--" why did you get rid of a T here? [INTERPOSING VOICES] PROFESSOR: Really, Really, we get rid of the T? Why? AUDIENCE: 20. PROFESSOR: Huh? PROFESSOR: 20. Very good. 20. When you have the N-T together, sometimes-- most of the time-- we get rid of the T. All right, center-- center. That's very good. So went in-- I went in with-- went in with-- you know. OK, very good. So you say, "wen-in," "wen-in," "wen-in." Here-- a bruise or-- a bruise or-- very good. Bruise. OK, ends with a consonant, starts with a vowel. We link it. Again, consonant/vowel linking. AUDIENCE: Bruise or-- PROFESSOR: Bruise or-- bruise or a cut. And if you listen to it, actually he says it really slowly. So he actually links this together, too. "Cut-an," "cut-an," "cut-an." OK. And-- and you. And-- "an-jew." An-- "an-jew." Oh, and you-- like palatalization. And you. Yeah, that's good. And you. And you. And you. And you. But I think he says just and you. I think you just get rid of-- there are two possibilities. And you and palatalization-- and you. Or get rid of the D. Like N-T-- get rid of the T. And you. Very good. This one-- [INTERPOSING VOICES] AUDIENCE: Had to. PROFESSOR: Had to. Had to. You can consider this-- had to. I think rather than actually considering it as disappearing D-- unreleased D. Had to-- unreleased. Unreleased. But there's definitely linking here. Had to. Bandage me-- AUDIENCE: Up. PROFESSOR: Very good. Look-- bandage me up. "Me-yup." And where's the stress? AUDIENCE: "Yup." PROFESSOR: "Yup." OK. Bandage me up. Bandage me up. OK, so listen. I'll play this again, the first part. Listen very carefully. So he'll say something like, let's say-- AUDIENCE: Let's say. PROFESSOR: --I went in with-- AUDIENCE: I went in with. PROFESSOR: --went in with, you know, a bruise or a cut. Then you-- a bruise or a cut, then you had to bandage me up. AUDIENCE: Had to bandage me up. AUDIENCE: "Me-yup." PROFESSOR: Had to. AUDIENCE: Had to. PROFESSOR: Had to bandage me up. AUDIENCE: Had to bandage me up. PROFESSOR: OK. Too fast? AUDIENCE: Yeah. AUDIENCE: Too fast. PROFESSOR: Wait. Went in with-- went in-- he did not say, I went in with. Went in with. That was clear. Went in with. Let's say it was clear. Let's say, he did not say-- let's say. Let's say. Let's say, I went in with-- went in with-- went in with a bruise or a cut. He has a very nice rhythm-- a bruise or a cut, then you-- a bruise or a cut. And that's what we're going to talk about-- rhythm. Rhythm. After this, rhythm. He goes, a bruise-- a bruise or a cut, then you-- bruise or a-- he goes up on certain words. The words that you go up on are, actually, content words-- nouns. A bruise or a-- he goes a bruise or a cut-- a bruise or a cut, then you-- a bruise or a cut, and you had to bandage me up. Bandage me up. Bandage me-- bandage me up. OK, one more-- OK, now let's turn to page 112. 112. Pronunciation-- noun compounds. Remember the noun compounds-- compound neurons? AUDIENCE: Yes. PROFESSOR: What happens-- which word gets more stress? AUDIENCE: The first one. PROFESSOR: First one. First one. OK, so like exercise on bottom of page 112, don't you like that music? No, it's really giving me a-- AUDIENCE: Headache. PROFESSOR: --headache. Headache. Headache. Headache. "Head-ache." AUDIENCE: Headache. PROFESSOR: That becomes a flap. Headache. AUDIENCE: Headache. PROFESSOR: Headache. AUDIENCE: Headache. PROFESSOR: Headache. AUDIENCE: Headache. PROFESSOR: Headache. AUDIENCE: Headache. PROFESSOR: OK, so we'll do this with a partner, OK? We'll do A, B, A, B, A, B, OK? A, B, A, B, A, B, A, B. AUDIENCE: A. AUDIENCE: B. AUDIENCE: A. AUDIENCE: B. AUDIENCE: A. AUDIENCE: B. AUDIENCE: A. AUDIENCE: B. AUDIENCE: A. AUDIENCE: B. AUDIENCE: A. AUDIENCE: B. AUDIENCE: A. AUDIENCE: B. AUDIENCE: A. AUDIENCE: B. AUDIENCE: A. AUDIENCE: B. PROFESSOR: OK. Three of you together. OK, so go through the 10 sentences. Page 112, 113. Make sure that you put more stress on the first one. [INTERPOSING VOICES] AUDIENCE: Don't you like the music? AUDIENCE: I fell ice skating and broke my-- AUDIENCE: No, it's really giving me a headache. Wish they'd turn it off. AUDIENCE: When I went ice skating, I broke my kneecap. Kneecap. AUDIENCE: I know. I really have to do something about this [INAUDIBLE].. PROFESSOR: Spicy food. AUDIENCE: Food. PROFESSOR: Food-- long. Food. AUDIENCE: Question. PROFESSOR: Yes. AUDIENCE: I wish I'd turned it off. PROFESSOR: Turn it off. AUDIENCE: Turn it off. PROFESSOR: Turn it off. AUDIENCE: What is this? Switch is off. PROFESSOR: Yes. Turn it off. AUDIENCE: Turn it off. PROFESSOR: Turn-- no, no. AUDIENCE: Turn it-- PROFESSOR: [INAUDIBLE]. Turn it off. Linking-- turn it off. Turn it off. Turn it off. Turn it off. [INTERPOSING VOICES] PROFESSOR: Sore-- armpit. Armpit. AUDIENCE: Sore arm. PROFESSOR: No, sore is an adjective. Armpit. A sore armpit. A sore armpit. Armpit is the compound noun. Sore is an adjective. Armpit. Armpit. AUDIENCE: Armpit. PROFESSOR: Backache. Back-- where? AUDIENCE: Exercise [INAUDIBLE]. PROFESSOR: Backache. AUDIENCE: Backache. PROFESSOR: OK. AUDIENCE: How did your checkup-- checkup go the doctor's? PROFESSOR: One more time. AUDIENCE: How did your checkup go at the doctor's? PROFESSOR: Checkup. AUDIENCE: Checkup. AUDIENCE: Well, everything is fine, except he found a irregular heartbeat. He wants me-- he wants me to get it checked again-- checked again in a month. PROFESSOR: Checked again. AUDIENCE: Checked again. PROFESSOR: It's not "gain." Like said-- S-A-I-D-- said. AUDIENCE: Checked again. PROFESSOR: Checked again. AUDIENCE: Again. PROFESSOR: Yes. Not "ay," but "eh," like said. S-A-- said, again. OK. Let's do this together-- the second sentence. I wish they'd-- OK, how are your [INAUDIBLE]? How do you say this? AUDIENCE: Turn-- [INTERPOSING VOICES] PROFESSOR: What's the first sound? AUDIENCE: Turn. PROFESSOR: "Tur." It's not turn. "Tur." If you say turn, you're finished. OK. "Tur." AUDIENCE: "Tur." PROFESSOR: "Tur." [INTERPOSING VOICES] PROFESSOR: "Turn i--" AUDIENCE: Off. PROFESSOR: OK, it becomes a flap. OK, where's the stress? Stress-- AUDIENCE: Off. AUDIENCE: Turn it off. PROFESSOR: OK, turn it off. AUDIENCE: Turn it off. PROFESSOR: Turn it off. AUDIENCE: Turn it off. PROFESSOR: Tur-- turn it off. AUDIENCE: Turn it off. PROFESSOR: Turn it off. AUDIENCE: Turn it off. PROFESSOR: Turn it off. AUDIENCE: Turn it off. PROFESSOR: Turn it off. AUDIENCE: Turn it off. PROFESSOR: Turn it off. AUDIENCE: Turn it off. PROFESSOR: Turn it off. AUDIENCE: Turn it off. PROFESSOR: I wish they'd turn it off. AUDIENCE: I wish they'd turn it off. PROFESSOR: And they'd-- what's they'd, here? Would. If you say wish, you have to say would. You can't say will. Questions? Questions? A sore-- I had a question about 7A. I have a sore-- sore is an adjective. Armpit is the compound noun. Armpit. AUDIENCE: Armpit. PROFESSOR: Armpit. AUDIENCE: Armpit. PROFESSOR: Armpit. AUDIENCE: Armpit. PROFESSOR: OK, any other questions? AUDIENCE: What is it? PROFESSOR: Huh, armpit? AUDIENCE: Sore armpit. PROFESSOR: That, actually, I have no idea. I heard-- so you go swimming, and-- how do you get sore armpit? Sore shoulder I can understand. Armpit is-- this is armpit. How did you get a sore armpit? [LAUGHTER] I don't know. I was reading this-- AUDIENCE: Because of friction. PROFESSOR: Because of friction-- [LAUGHTER] --you get a sore armpit. I don't know. I'm not much of a swimmer, so I don't know. How do you get a sore armpit? I do not know that. OK, now, any other questions? If not, let's move on to course packet page 70. So we're just going to have to-- OK, just look at your course packet, page 70. OK, read the first word-- volunteer. AUDIENCE: Volunteer. PROFESSOR: And on the right hand, you have-- AUDIENCE: She can hear. PROFESSOR: She can hear. AUDIENCE: She can hear. PROFESSOR: And next-- AUDIENCE: Presented PROFESSOR: Presented. Next. AUDIENCE: Dissented. PROFESSOR: Dissented. Next. AUDIENCE: Economics. PROFESSOR: Where's the stress? AUDIENCE: Economics. PROFESSOR: Economics. There's-- economics. There's a "nah"-- economics. AUDIENCE: Economics. PROFESSOR: Next. AUDIENCE: In the comics. PROFESSOR: In the comics. AUDIENCE: In the comics. PROFESSOR: In the comics. Next. AUDIENCE: Approximate. PROFESSOR: Approxi-- AUDIENCE: Mate. AUDIENCE: Approximate. PROFESSOR: Approximate. Approximate. This is an adjective, right? Approximate. Adverb-- approximately. AUDIENCE: Approximately. PROFESSOR: Approximately. AUDIENCE: Approximately. PROFESSOR: And next. AUDIENCE: [INAUDIBLE] PROFESSOR: [INAUDIBLE] AUDIENCE: [INAUDIBLE] PROFESSOR: Next. AUDIENCE: Electrification. PROFESSOR: OK, slow down. AUDIENCE: "E-lec-tri-fi-ca-tion." PROFESSOR: "E-lec-tri-fi-ca-tion." AUDIENCE: "E-lec-tri-fi-ca-tion." PROFESSOR: "E-lec-tri-fi-ca-tion." AUDIENCE: "E-lec-tri-fi-ca-tion." PROFESSOR: "E-lec-tri-fi-ca-tion." AUDIENCE: "E-lec-tri-fi-ca-tion." PROFESSOR: And the sentence. AUDIENCE: She went to the station. [INTERPOSING VOICES] PROFESSOR: She went to the station. AUDIENCE: She went to the station. PROFESSOR: She went to the station. AUDIENCE: She went to the station. PROFESSOR: So we talked about word stress, right? In any words, there is one syllable that is always stressed more than any other syllables in English words. And in sentences or phrases, we have certain words that are more stressed than others. That's how we get a rhythm. That's what we mean by sentence stress. If you have a sentence stress, then you get a good rhythm in English. You don't just stress any of the words-- any words that you want to feel like stressing, but there are rules about that. Why does that happen? That happens because English is very strange. I think I told you this before a couple of times. English is probably the only language that are commonly spoken in the world, which is a stress-timed language. English is a stress-timed language. But any of the words that you can think of-- Korean, Japanese, Chinese-- I don't know [INAUDIBLE]. Thai. Thai. Spanish, French, Italian-- maybe except German. German is maybe a bit like stress point. Those are syllable-timed languages, meaning if you have more syllables, it'll take longer time to say those sentences. But in English, it doesn't matter how many syllables you have. What's really important is the number of stresses. If, in a sentence, if you have more stressed syllables or more stressed words, then it'll take longer time to say those sentences. So for instance, cats chase mice. I'll do this. Cats chase mice. There are three words. Cats chase mice. Make sense, right? AUDIENCE: Cats chase mice. PROFESSOR: Cats chase mice. AUDIENCE: Cats chase mice. PROFESSOR: That's the next-- cats chase mice. AUDIENCE: Cats chase mice. PROFESSOR: The cats have-- the cats have chased mice. AUDIENCE: The cats have chased mice. PROFESSOR: The cats have chased the mice. AUDIENCE: The cats have chased the mice. PROFESSOR: The cat's been chasing the mice. AUDIENCE: The cat's been chasing the mice. PROFESSOR: The cats might have been chasing the mice. AUDIENCE: The cats might have been chasing the mice. PROFESSOR: OK, last one is a little bit more difficult. But here we have 1, 2, 3, 4, 5, 6. We have six-- 1, 2, 3, 5-- we have six sentences. You have six sentences, and all those six sentences have three stressed words. They have only three stresses. So it takes roughly the same amount of time to say the first one and the last one even though the last one has many more syllables, right? So we can-- we can do this. I wish I had my-- [INAUDIBLE] That's weird. What happened? OK. I'll do this. You can just watch. [STOMPING RHYTHMICALLY] 1, 2, 3-- there are three stresses. 1, 2, 3. 1, 2, 3. Cats chase-- just listen. Cats chase mice. The cats chase mice. The cats have chased mice. The cats have chased the mice. The cat's been chasing the mice. The cats might have been chasing the mice. Oh, the last one was a little bit-- the cats [MUMBLING].. There were too many syllables there. But we could do this in English because English follows stress patterns. That's like music-- playing music. So that's how you get a rhythm in English. In order to do that, you have to reduce certain sounds. That's why we get reduced sounds in a word and in sentences. OK, we'll do this together later. If you turn over the page-- turn over the page. So the-- page 71. Next page. So the question is, which words do you stress, and which words do you not stress? You stress the content words and you do not stress the function words. What are the content words? Where the function words? You can turn to page 86 in your book. Page 86. Page 86 in your book. OK. On page 86, we have rules for stress in one-syllable words-- rules for stress in one-syllable words. But it's actually page-- no, in your book. In your book-- textbook. Page 86. This is not just for one-syllable words, but this is rules for stress in a sentence on page 86. The following one-syllable words are usually unstressed. The following words are usually unstressed in a sentence-- articles, pronouns, prepositions, conjunctions, auxiliary verbs-- OK, auxiliary verbs-- and linking verb. These are function or content words? AUDIENCE: Function. PROFESSOR: Function. They just serve a function-- grammatical function. They don't have any real meanings. The following words are usually stressed in a sentence-- nouns, adjectives, verbs, adverbs, numbers, question words, demonstratives. These are function words or content words? AUDIENCE: Content words. PROFESSOR: Content words. They have some of content. They carry meaning. OK, so what do you do? You stress content or function words? AUDIENCE: Content words. PROFESSOR: You stress the content words in a sentence. OK, what happens to the function words? AUDIENCE: Reduced. PROFESSOR: The vowels get reduced. Sometimes, we get rid of certain consonants, too. That's how we get a rhythm in English. So if you go back to your course packet-- page 71-- content words versus function words. Rhythm in English is created by stressing-- AUDIENCE: Content words. PROFESSOR: --content words and by reducing the vowels and function words. OK, you can do this. Da. Da, di, di, da, di, di, da. Da is a stress. OK, repeat after me. Da, di, di, da, di, di, da. AUDIENCE: Da, di, di, da, di, di, da. PROFESSOR: Da, di, di, da, di, di, da. AUDIENCE: Da, di, di, da, di, di, da. PROFESSOR: Bill is in front of the room. AUDIENCE: Bill is in front of the room. PROFESSOR: One more time. Bill is in front of the room. AUDIENCE: Bill is in front of the room. PROFESSOR: Annie's away for the day. AUDIENCE: Annie's away for the day. PROFESSOR: Annie's away for the day. AUDIENCE: Annie's away for the day. PROFESSOR: Nice is a town by the sea. AUDIENCE: Nice is a town by the sea. PROFESSOR: OK. Da, di, di, da-- AUDIENCE: [INAUDIBLE] PROFESSOR: Huh? AUDIENCE: [INAUDIBLE] PROFESSOR: This is an inverted sentence. A town by the sea is nice. It's nice. We have the adjective at the beginning. Nice is a town by the sea. So here-- da, di, di, da, di, di, da. OK. Bill-- and you want to say it like, not "Bill-is-in," but "Bill-lis-in." Do the linking. Bill is in. AUDIENCE: Bill is in. PROFESSOR: Bill is in. AUDIENCE: Bill is in. PROFESSOR: And what do you do with the next one? AUDIENCE: Front of-- PROFESSOR: "Fra-nah." Get rid of the T, OK? "Fra-nah." And get rid of the "of." "Fra-nah the." AUDIENCE: "Fra-nah the." PROFESSOR: "Fra-nah the." AUDIENCE: "Fra-nah the." PROFESSOR: "Fra-nah the." AUDIENCE: "Fra-nah the." PROFESSOR: "Fra-nah the." Bill is in front of the room. AUDIENCE: Bill is in front of the room. PROFESSOR: Bill is in front of the room. AUDIENCE: Bill is in front of the room. PROFESSOR: OK. The rhythm is uh, uh, uh, uh, uh, uh, uh. Bill is in front of the room. AUDIENCE: Bill is in front of the room. PROFESSOR: Annie's away for the day. AUDIENCE: Annie's away for the day. PROFESSOR: Again, Nice is a-- Nice is a-- AUDIENCE: Nice is a-- PROFESSOR: Nice is a town by the sea. AUDIENCE: Nice is a town by the sea. PROFESSOR: OK, so let's do the next five sentences. Let's do the next five sentences. Oh, actually-- OK, I want you to do this at home. OK. For instance, di, da. di. Di, da, di, OK? Now, the first thing-- find the right matches. The first thing that you need to do is, in a sentence, how many syllables are there? That's the first thing that you have to figure out. How many syllables does, try to sleep-- you promised to phone. How many syllables are there? I'd like to sleep. How many syllables? Now, after that, first figure out how many syllables each sentence has. After that, you want to figure out, OK, which one is a content word? Which one is the function word? And da-- content words, for instance, like promised has many syllables. Which one is stressed? You need to figure that out. So do that, and then the next thing that I want you to do-- the next thing that I want you to do-- let's turn to page 89 in your book. Page 89 in your book. Page 89. Page 89 in your book. 88, 89 you have examples of reduced function words on page 88, 89. OK, 88, 89. Pay special attention to number 5-- auxiliary verbs. Number 5. Number 5. And I want you to practice cats chase mice. The cats chase mice. I want you to-- 1, 2, 3. 1, 2-- you can stomp along. 1, 2, 3. Say it really slowly. Cats chase mice. The cats chase mice. The cats are chase-- the cats-- but you need to apply the rules. I don't want you to say, the cats have chased. The cats have-- if you're going to try to say, cats have-- that's going to be too difficult. You need to say, the cats-- H is going to disappear, right? Cat-- so you're going to say, "cat-suh." Cats-- you can have "cats-of" or "cat-suh." "Cat-suh" chased mice. OK, next one. AUDIENCE: The cats have chased mice. PROFESSOR: The last one-- the cats-- you don't want to say might have been. That's going to take too long. "Might-a-been." "Might-a-been." "Might-a-been." OK, the first one-- "my-da-been." But I want you to write it down. I want you to write it down in your course pocket. I want you to analyze it first. If you have this, I want you to-- OK. Write the phonetic symbols. My-- OK. This disappears. OK, and we get rid of that. OK, so like this. "Might-a-been." "Might-a-been." "Might-a-been." The cats "might-a-been." "Might-a-been." At first, say it really slowly. "Might-a-been." "Might-a-been." "Might-a-been." But the cats might have been chasing the mice. Or the one before that, you can say, the cats-- if you do this, you write it like, OK, ca-- "cat-suh." OK, you can either-- you can keep this or get rid of this. The cats have been-- OK. Then, you practice "cat-suh-been." "Cat-suh-been." "Cat-suh-been." "Cat-suh-been." "Cat-suh-been." "Cat-suh-been."