American Accent Made Easy - Mastering the American Accent | Ashwin Gore | Skillshare

Playback Speed


  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

American Accent Made Easy - Mastering the American Accent

teacher avatar Ashwin Gore, American Accent Coach

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

20 Lessons (1h 12m)
    • 1. American Accent Made Easy - What to Expect

      1:16
    • 2. Introduction

      3:07
    • 3. Placement and the American R

      13:29
    • 4. The ER Sound

      3:07
    • 5. Plosives

      3:30
    • 6. The SH Sound

      1:21
    • 7. The CH Sound

      0:58
    • 8. Drills Run Through

      4:51
    • 9. American Rhythm

      7:13
    • 10. American Rhythm - Application

      6:19
    • 11. Downward Inflection

      2:57
    • 12. The OU to AH Shift

      3:02
    • 13. The EEE Sound

      0:47
    • 14. Medial T Words

      1:15
    • 15. The Soft E

      1:04
    • 16. Diphthongs

      4:25
    • 17. Double Syllable Words

      1:12
    • 18. Final Thoughts

      3:08
    • 19. Common IT Industry Words

      3:22
    • 20. The TH Sound

      5:45
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

382

Students

1

Project

About This Class

COURSE GOALS:

To give you a perfect Standard American accent that you can apply in all fields to improve your communication with others, make you clearly understood and allow you to pass as an American as opposed to a foreign speaker.

HOW TO GET A PERFECT ACCENT FAST:

My philosophy with teaching the American Accent is to remove all the useless and redundant exercises taught by many accent coaches and teach you only what you actually need to know! 

Accent work shouldn't be intellectual, so I come from a philosophy of teaching you a set of drills and technical knowledge that will get the accent out of your head and allow you to speak naturally and effortlessly without needing to think about it. When using your accent, you should be focusing on what you're saying in your speech, or presentation, or meeting, or audition, NOT how you're sounding. 

This course will give you the tools to finally be confident with your American accent so you can focus on the tasks at hand and not worrying about how you sound.

WHO THIS COURSE IS FOR:

This course is for anyone who wants to perfect an American accent, regardless of your field of work. The teachings apply to everyone from those who work in IT and business, to those who need the accent for presentations, meetings, phone conversations, to actors, hosts and voice over artists.

WHAT YOU WILL LEARN:

You will learn a set of full-proof Drills to hone and harness your Accent for everyday use. You will also learn a series of Technical aspects that will elevate your accent and make you indistinguishable from a natural American speaker. We will also cover Advanced Technique to ensure your accent holds perfect in any situation.

CLIENT TESTIMONIALS:

"My lack of understanding of the US accent was preventing me from booking work. Ashwin has a wonderful, effective and easy to learn approach to his teaching that wasn't just about the sound, but also rhythm and tone. After only a few lessons I had more much confidence for auditions and within only a few weeks had book an American job!"

- Keisha Castle-Hughes (Oscar nominated actress in Game of Thrones, Whale Rider, FBI: Most Wanted)

"Meticulous, thorough and practical. Ashwin Gore's accent coaching means walking in the room feeling prepared and on-point with the American accent."

- Deobia Operai (actor in Independence Day 2, Dumbo, Sex Education)

"Ashwin has helped me get the perfect American accent. His methods are easy to learn, easy to practice and fun to do. Not only did he help me with the accent, he also taught me to use my voice in the best possible way."

- Tyler Atkins (actor in Outlaw Chronicles, Puberty Blues)

Meet Your Teacher

Teacher Profile Image

Ashwin Gore

American Accent Coach

Teacher

Ashwin Gore is a Los Angeles based coach who specializes in the Standard American Accent. His clients are professionals in all fields including Entertainment, IT, Business, Management, Marketing, Promotions, etc. In the Entertainment field, many of his clients have started booking major roles on TV/Film because they have perfected their American accent. His clients including Academy Award and Emmy Nominees who have appeared in projects such as: Game of Thrones, The Walking Dead, Roadies, Dumbo, Independence Day 2, Pirates of the Caribbean, FBI: Most Wanted, Supergirl, The Bastard Executioner, Proof, Star Wars: Phantom Menace, Unabomber: Manhunt, The Shannara Chronicles, and many more.

Ashwin uses his American Accent in the field as an actor and has appeared in Oscar winner Willia... See full profile

Class Ratings

Expectations Met?
  • Exceeded!
    0%
  • Yes
    0%
  • Somewhat
    0%
  • Not really
    0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. American Accent Made Easy - What to Expect: Welcome to master the American accent. I'm your coach, Ashwin goal, and my goal is to teach you what perfect American accent. My philosophy on teaching the American accent is to remove all the redundant and often intellectual lessons many coaches teach and give you the correct tools and skills to get your American accents perfect quickly, easily and an enjoyable way. In this video series, you're going to learn a set of specifically crafted drills to harness your American accent, in addition to a series of technical skills to ensure that your American action of perfects in any situation. This course, with those non-American speakers who want Native American speakers to understand them clearly in all fields, including IS IT communications, acting, voiceovers, hosting, and many, many more professionals. I've been an accent coach for ten years and being a non native american split on myself, I understand exactly what you need to be taught again, a perfect American accent. My clients abuse their American accent successful in all walks of life, including several high profile television and film projects. So what are you waiting for its time to master your American accent? 2. Introduction: Hey guys, welcome to the mastering the American Accent video series. I'm Ashland goal. And for the next few video lessons, I'm going to be your coach and guide to ensure you get the perfect American accent. So my philosophy with the American accent is to remove all the intellectual elements that we're always taught. A lot of accent coaches are going to walk you through things like consonance, val T hates sounds, having your joy in a certain way or having your tongue behind your teeth when you say certain words. And while those are all accurate and great, what it does is it makes the accent to intellectual. So when you're in the moment, when you're speaking, if you're in a scene or you're giving a presentation and you're thinking about those kind of things, there's no way you can actually be present and there's no way you can actually sustain a perfect American accent. So what I did was to remove all that intellectual stuff and really focus on a technique that ensures that once you do the work, once you do the drills, wants to do the homework per se, when you're in the moment and you're speaking in an American accent, You don't have to think about the exit. So what we're gonna do is we're going to create almost like a filter. So I want you to imagine that what we're doing is building a mosque. So we're gonna put that on and when we speak, everything is going to come out American. It's going to be your voice, so we're not going to change the tone. You're not going to speak higher, you're not gonna get deeper. It's just going to be how you sound, but it's going to be American. And how we're going to do that is through a set of drills. The drills are the bread and butter for your American accent. You're gonna do them before you do your accent. For auditions before speeches, even before you practice. As you do them again and again and again, your accent will get better and better. And then eventually you'll just be able to sustain a perfect American accent. We're also going to learn technical elements of the American accent. It's one thing to be able to say car and bar and forever. But having the words isn't good enough. We need to learn the American rhythm. We need to know how to speak like an American. We need to know about downward inflection. We need to know about all those little elements that make an American person uniquely American. We're gonna do that. We're also going to learn advanced technique, things that will help you. Kind of some words that they don't really have that many elements to them that made them American. So we're going to learn those techniques. So every word you say is coming out in an American accent and you're not going to slip into your natural accent. Before we start a little bit about me. I am obviously originally from Australia, hence the accent. I grew up in Australia, was born in India, then moved to the US. I've been an accent coach for ten years now and I've worked with a bunch of clients in the acting industry, in marketing, presenting, in the tech industry. And all my clients have come to me with the same problem. They've heard American accents, they've tried to do it themselves or they've had coaching before, but no one's ever given them a set of tools that one makes the American Accent easy to learn and to help them sustain it over a period of time. That's what we're going to teach you today. 3. Placement and the American R: All right. Let's get into the first drill placement. And the American are, like I said it, the drills are the bread and butter for your American accent before you do your acts and you're always gonna do these jewels. I want you to think about it almost like stretching before you go to the gym. Yes. You know how to lift a dumbbell, but stretching, for example, your bicep helps you lift it in a much better way and in a cleaner way and in a stronger way. Saying that these drills, by doing the drills is just going to ensure that you never gonna slip in your American accent because doing your acts and everything is perfect. One tiny little slip GameOver If people are gonna go, oh, where are you from? And you don't want that to happen. So the first law we're going to look at is placement and the American art. So when we think about placement, I want you to actually think about the American Accent being placed in the back of your neck, which is going to be the American resonant position. So the American resonant position is back of the neck. For example, the British resident position is forward in the mouth to the British accent is all the way forward in American accent is all the way back. And accent like an Australian accent or a European accents are all in the middle your mouth. That's why it's so hard for anyone to do an Australian accent because you can go back, go forward. But how do you place middle? So with placement is very important for us to be aware of where the American resonant position is, where the British resonant position is and where that middle Your mouth is. Because when you're in your acts and, and when you're speaking in your own accent, you want to be able to switch and go into the American Accent straight away. So the only way to do that is to be aware of these positions. So what we're gonna do is we're going to train ourselves to be able to speak from the back of the neck. I used to say back of the throat bundle. A lot of my clients started talking over here and started doing a very technology kind of being. So we want to be speaking from the back of the neck. If we look at it in an intellectual way, back or the neck, makes no sense because you can't speak from your neck, right? But what I want you to do is I want you to trust that your brain is going to automatically know what that means. It's weird. It's like magic. I know, but trust me, once you kind of start thinking about back of the net, your voices worry, worried about if you're going to come from there. And the other thing I want you to think about when we're doing any American accent is your throat. I want you to think about your throat almost as being a vessel for sound, right? Same with your jaw. So we're not going to try to create sounds and words by using our lips and our jaw too much. Because if we do that, it's going to sound like we're putting on an accent. So the throat is just going to be a vessel for the sound and you're going to speak from the diaphragm. So the first rule, the American, our drill helps us establish the back of the neck, but it also helps us establish the American Are the letter R is, is the most American sounding letter there is. So it's going to be the anchor for our accent. So we need a nice, strong, crisp American r. So this is how the drills gonna go. You're gonna put your hand on your chest and you're gonna go E, neck, back slightly ajar. So let's break it down, it down a little bit. The first section, I want you to put your hand tias Chiemsee, feel the vibration in your chest. When we do the sound is just going to be a HH and we don't want to go or we don't want to seem the sound, we want a nice rule sound. So let's just try that first plot. So repeat after me. You can pause the video and try that for yourself. Then what we're gonna do is we're going to add an e sound. The e sound is to establish middle ear mouth. So all you're literally going to do for this. A big smile because in this position you can't speak or anywhere else but earlier melt, alright, so you're gonna go E, That's it. Don't sing it, don't try and make it sound pretty. It's a very simple sound. So putting those together, it's gonna go E. That's about it. Pause the tape, try that for yourself. The next part is to add the American r. So if we think about the American ie, if we think about spelling the letter, as weird as that sounds, it's going to be spelled a, H, H, R. That's how are we going to spell the letter? So that first sound we're making, It's essentially the first part of that letter. So when you do the American, Ah, you're gonna put your neck back slightly and tuck your chin in. Not so much in Africa all the way back, you don't have to move your body just slightly. In this position, it's impossible to speak from the milia mouth or from forward. Say if I try and speak in my own axial ideas, iconic, literally constricted, right? The only place to speak from the back of the neck. So by putting your neck back, you're just forcing yourself to speak from the back of the neck. And this is really important that people who have Australian accents, South African accent is Indian accents, British accents really forced ourselves to come from there for this drill. Now of course, when you're doing an American accent, you're not going to bring a neck back the whole time. But doing it in the drill kinda helps us from the back of the neck and really lifts up brain of his NRI. We're speaking from there now. I do my placement over there. So this is how the whole drill is gonna go. E, neck, back, slightly ajar and you see that our sound has to be nice and crisp and clear. And again, if we're going to spell the letter r, it's just a, H, H, and then a little r. So that first sound is the first part of the eye. Then what happens is just Tang is literally going to roll up just like this to create the rest of the sound are, and that's what it is. You wanted to do this drill about 5-6 times until you have a nice crisp oh, are sound. And remember you want to feel the vibration in your chest because that means just speaking from the diaphragm. Some days it might take you ten times doing this drill to get a nice crisp sound. Some other days it might take you three depends on the time today, how tired you are, things like that. But if 5-6 times is a good average, after doing that, you get to say the following sentence. Around the rugged rocks, the ragged rescaled ran again around the rugged rocks. The wagon rascal ran. We say this sentence because one, it's a tongue twister. It's got a lot of ours. Having a string of words is the hottest thing in the American Axin because naturally it's really hard to say RRR words, one sentence. So a lot of times, a lot of people will trip up over that saying the sentence often doing that initial module is just going to ensure that when you get sentences that have a lot of ours, you're not gonna trick up. Trip up. Sorry. So here we go. Around the rugged rocks, the ragged rascal ran. Then what I want you to do is I want you to stretch the r sound in all those words. So it's gonna go like this. Or around their rugged or rocks or ragged rascal ran, How did not or sound really helps you, again, come from the back of the neck because you can't make a nice strong or sounds in the middle your mouth, or even from the English rise into position, which is floating him out. Impossible. So around the rugged rocks the ragged rascal ran. And remember, take your time with the drills. The thing with these drills is that they're very specific. I've gotten rid of all the things you don't need to know, which means that the drills contain every little thing that you do need to know so you can't skip over anything and there's no point just kinda saying it. You know, you don't want to just go R because that's not gonna do anything. You're just going to be wasting at time. Yeah. So focus and specificity is what's going to help you get that perfect American accent. The next row is the QRS TUV drill. What this tool does is again, it establishes front of the mouth, English resonant position, and the American resident position. By establishing those two kind of polar opposites, it ensures again that if we are, if I'm speaking in this triads and I can go back to an American accent instantly. Or if you're speaking in a British accent, you should be able to go back as well. Knowing these two positions will help us slide between the two. So this is how this rho works for now let's forget the R sound. I just want you to focus on cue as TUV. And we're actually gonna do these letters, a British accent. Now if you can't do in British accent, that's fine. I want you to do the most stereotypical, cliche British accent, you know? So you're gonna put your fingertips and you're gonna go Q S T U V. Again, Q S, T U V. And the reason my fingers to my lips is because I want you to essentially spit those letters out of your hand. I want you to feel the breath against your finger. Q, S, T, U, V. That means we are coming forward in the mouth. Now we're going to add the American r. So when you add the American r, remember you're gonna put your neck back slightly to get that our sound. So the drill is going to go like this. Q, neck, back slightly or forward again, S T U V. Again Q R, S T U V. And the idea is when you say the r, there should be no breath against your finger because just speaking from the back of the neck, what's very important is driven a lot of my clients, in a lot of times I have a bit of a struggle with this is making sure the QS TV is right at the front and the r is right at the back. Because what a lot of people do is alter this Q, R, S, T, U, V. And you'll notice the sound was in my natural Australian accent. And then the TUV cited sliding forward. We don't want to slide for you literally want it to be q forward here are back here, S, T, U, V. So no sliding. Here's a reason. If you start sliding and you're drills say you're doing an American accent and you kind of kept yourself slipping and anybody you're falling forward into your natural Australian or British or Indian accent, you want to be able to go back instantly. You don't want to take a few words to go back because those few words, that slide back is what's gonna go, Oh, you're not American. Where are you from? Right? And you never want that. So Q, R, S, T, U, V, without sliding. This jewel, again, 5-6 times, get that really crisp, are sound. And most importantly, take your time. Don't rush this drill. After doing that, we're going to say the following sentences, focusing on the R sound. So the first sentence is, We are the champions. So try that, force the type. Say that sentence, really hitting that are sound. Now the words we and champions, I still want you to come from the back of the neck. Let's try that again. We are the champions. Now, obviously when you're doing your American accent in a general setting and a scene or you're speaking to someone, you're not going to say, hey, we are the champions, right? You're not going to hit that are so odd. But what we're doing these drills is we're really stretching and pushing the R sound. So that way when we do it in person, it's subtle. Because if we learn a subtle, We're going to be subliminal when we actually do it in person. So again, We Are The Champions. Let's try the next sentence. Toys R, Us. Posit a. Try those two. Here's the next sentence, slightly longer. We park our car is in our garage and we enter our back door and place our feet on the floor, and we open our refrigerator and drink beer. E, watermelon. Huge sentence, a lot of elements in a sentence. So let's break it down a little. The first part is sentence there, we park our cars in our garage. The word pop in cars are essentially just outwards, right? So let's say our put a p in front par, but okay, at the end, Park to Park is an R word. That's why it's so important to have a nice crisp are same deal with cars. So we park our cars and our garage, the next one, and we enter our back door. So what you'll notice here is we didn't say and we enter our backdoor. Now you can, it's not that Americans don't hit that t, a lot of them do. But it's more of a professional being. You know, if you're a professor news reader, then you'll say, you know, enter the colloquial way to say it is energy E and N E IR. And we enter our back door and place our feet on our floor. Now, when you're doing that drill, again, focusing on the Rs and I want you to come from the back of the neck. Now, a lot of times the word our, like our house, our car, Americans aren't going to hit that as strong as a British, Australia in an Indian speak or a European speak up. So that would aula, I'm almost going to have you replace it with our hence why we're saying we park our cars in our the only time you get to say our is if you're referring to time two hours, yeah. Sometimes Americans will kind of slide between them so that sometimes I might say, look, that's our house, right? But I want you to practice really saying that's our house. It's just going to ensure that you're gonna stay in American accent and not risk slipping back into your own natural accent. Now, don't worry that a lot of the elements of the sentence might not sound American when you're saying it the first time, there's a lot of things within the sentence that we haven't covered yet. But as we go through it, you're going to start realizing, Oh yeah, that's why they Sounds like watermelon. Oh, that's why this sounds like floor, things like that. So when you're doing the sentence really only focused on the r sound. 4. The ER Sound: The next row is the ER drill. The ER drill is really important because Americans really stressed that are sound at the ends of their work and also sometimes in the middle of their words. And Australian speaker, British speaker would say things like hot bed of foster stronger lidar. Americans will say harder, better, faster, stronger, lighter. Now there are a lot of other accents where, you know, you do push the outward. So you might be thinking, well, I do this anyway, so don't feel like our way, but this is what I do in my normal accent. Sometimes there are elements that the American accent that will be similar to your accent, but still very important to do these drills, even if you feel you already naturally have that sound. So let's kick into the ER drill. Alright, so the ER drill, you're going to say the following sentences five times. The first one is Red River. So let us try that. Red River, Red River, Red River. Red River. Red River. When you do that, remember to hit that d sound Red River. So you're not going red River? Red River? Yes. It hit that d sound. After you've done that, you're going to flip it. And now we're gonna say river, read five times. Here we go. River, Red River, Red River, Red River, Red River, Red. Also. Now we're gonna combine the words and it's gonna become red of red five times. Read, read, read, read, read, read, read, read, read, read. Cool. So now if we chop off the ED sound, we've got River, but we've got that extra r. So let's stretch out the sound and make it river five times. Here we go. Rigor, river, river, river, river, and then have that nice earth sound. And remember, all of this is coming from the back of the neck. So we've got River five times. Now we're going to say or, or, or, that's three sets. Here we go. Are, are, are, are, are, are, are, are, are. Awesome. Now what you're gonna do is you're going to repeat the following words. Ops to me. I'm going to throw up the was right over here, so you can read along two. Here we go. Harder, better, faster, smaller, lighter, thinner. Must Lear, skinnier, fatter, taller, heavier. Refer, darker, smoother, cleaner, dirty or Greener, bluer, renderer. Now, obviously you read her isn't a word, but it's a very important word to having a drills because saying would like read error is going to help you say words like mirror, which is a double ER sound. So what you can do off, you do that. You'll say, you'll enacted, say you've got a script, will say you've got a presentation and there is an iamb woods and dead throw those into the drills. So that way when you come into Minya drills, you know, when you actually say them in the field, you're not going to have a problem with them. 5. Plosives: The next one we're gonna do is the plosive drill. So plosives are the sounds that the LED is b, d, k, P and T make. But the cup to Americans pop that plosives by pumping it places, it ensures that you finish the word. First of all, a lot of countries with a lot of different actions don't finish their words. They kind of meld them all into one. Americans finish those words. We're going to pop all our plosives. So this is how the drug is gonna go. You're gonna do it for each b, d, k, P, and T. So you're gonna go babum, babum, babum, babum, babum, babum, babum. After that, you're gonna repeat the following words. Bab, bed, bib, Bob, Bob, and remember to hit those plosives. Yep, the stock to be at the end. Now again, where really popping them in the drills doesn't mean that when you go into the field, you're gonna say, hey, that's my friend Bob, right? So trust that by pumping them a little extra hard in the drills when you go into the field, hey, that's my friend Bob. You still going to have that nice subtle pop. Very important to have that subtle pumped. Because if you don't do this drill, you might say that's my friend beau. Well, that's my dad and he's just going to cut off yet. So we want to hit those plosives. That's beat. Let's do D, da-da, da-da, da-da, da-da, da-da, da-da, da-da. Repeat the following. Dad. Dead. Did DOD, dud. Let's do the next one. Kay. At the GAR cachaca Catholic, a car, car. Say the following words. Cac, Keck, kick, cock, cock, bk x 1s p. Here we go. Pop up a bar, a bar pop-up above par, pap, pap, Pip, pop, pub. Last one, t touches guitar, touched the tar, targeted ta, ta said the following. Tat, tat, tit, taught Tut. That's it. That's the plosive children be dk, P and T. Now the plosives also applied in his letters G, c, and cubed, but only when they sound like, okay, here's what I mean. Let's say a word like quick. That first queue sound is going to be a sound. Quick. Say a word like click that Csound is going to be a k plus it, click, Yeah. So you don't have to do with a C and the Q and the G, but only when they sound like a K. That's the pleasure job. That here's a cool thing with distro, especially if you're an actor. What you can do is you can pull, twist, bend the rules of these drills. So same querying, different character, you can pop your plosives a bit more. So say you're talking and you really want to pop your plosives, you can do that. A very famous character in a movie, The Dark Knight, One of the things he did was to pop his plosives extra. So that way it just creates another sense of character so you can play around with it. Don't feel like you have to, you know, kinda stay stringent to what we're doing here. Be obviously very focused and specific with the drills and then you can play around with it a little. So that way you're not just gonna sound robotic Because that's the worst thing we can do is to get into a robotic American accent. We still want you, your character, who you ought to come out. 6. The SH Sound: The next role is the SH drove Americans really pushed the ssh sounds in words. So we need to do that to, this is how this row is gonna go. You're gonna say, she, boom, should bomb the three sets. Here we go. Shebang Shimbun, shebang, Shimbun, shebang should born the essay soundness and be nice and crisp. The reason we said a boom sound is because at b really kinda cuts off that SH, so that we're not going and fading out. Yeah, so what a nice crisp essays Shabbat. After you do that would be the following words. Shit, should shower, sheep. Sheet. Really stressed that SH sound. Now the FH drug doesn't only apply to when the letter S and ages there, it applies to any existing ssh sound. So word-like location actually has an SH sound. Let's try that again. Location. Here's another word, action, politician, vibration, comprehension. These are all SH words. Remember to really push the SH, draw super-simple DRL, but something you gotta pay attention to hit the SH. 7. The CH Sound: The next row is the CH drill, kinda like the SH, rural Americans stress the sound in words. So this rule is going to go like this. You're gonna say chop, chop, chop, chop, chop, chop, chop, chop, chop. Again, really hitting that sound. After you do that, you'll repeat the following word. Church, chip, choose chest, chowder, child. Pretty simple. Now, unlike the SHO, the CH rule only applies to when there's an existing sound. So for example, a word like chronic, which is CH RON, You're not going to say chorionic. Yeah. So only when there is an existing C heads-down and push it, push it a bit harder. Church, that church word, CH DURC, age. Technically it's a CH word and an ER word. Ch, ER, CH, church. 8. Drills Run Through: So what we're gonna do now is we're going to put the drills altogether. I'm gonna run it together. What do you can do is you can pause the type, repeat after me, and then unpause it. And then what's the next pop? This is really good if say, you're trying to do the drills in one go and you wanna kinda make sure you have that guidance. Use this chapter, really, really helpful. So we're gonna rock into the drills. Here we go. Festival is the ER drill and to the chest, a, e, neck, back, slightly ARE do that 5-6 times. After we do that, let's say the following sentence. Around the rugged rocks, the ragged rascal ran positive. Say that a few times. Let's stretch the R sound now or around their rugged rocks. The ragged rascal ran prototype, try that. The next row. Let's do the QRS TUV drug, Q, R, S, T, U, V, and they put their neck back to the R q barr. If TUV positive, let's do that now, 5-6 times. Now repeat the following sentences. We Are The Champions. Toys R Us. We park our cars in our garage and we enter our back door and place our feet on our floor. And we open our refrigerator and drink our beer. And E are watermelon. Nice work. So we've done the ITER, QRS, TUV. We've said those sentences. Let's move on to the ER drill and to the chest. Just gave them vibration. Red River Say that five times. Let's flip it. River read five times. Now let's combine them. Read, read five times of the ED River, five times. Now her for three sets. Now say a bunch of IO words here are a few. Harder, better, faster, smaller, lighter, thinner, muscle year, skinnier, fatter, taller, heavier. Refer darker, smoother, cleaner, dirty or green or blue or red error. Go ahead and say a few of those, say all those, add some urine as well. Now we're going to do the plosive drill for b, d K, p, T babum, babum, babum, babum, babum, babum, babum, bad, bad, been Bob, Bob that I tried. Iself, the D, data, da-da, da-da, da-da, da-da, da-da, da-da, dad, Dead, did DOD dud. Next one, K kappa, CAG, CAG, CAG, CAG, CAG, CAG, CAG, cake, cock, cock. That's BD2K. Let's do P, puppet, Baba, popup, pop up a bar, pi, pap, pet, Pip, pop pub, BD KP amo ti, ta, ta, ta, ta, ta, tat, tat it taut, taut. So let's do the SHO Shimbun. Shimbun, repeat that three times. Repeat the following words after me. Shit should shower, sheep. Sheet. That's, let's say a couple more. Location, action, politician comprehension. Let's do the CHO, chomp, chomp, chomp that three sets, positive recovery. And repeat the following after MY church, chip, choose chest, Charter, Child, cheat. Awesome. Those are your drills. Remember, Take your time. Be specific, focus when you're doing them. I really want you to hear yourself doing emotionally he yourself coming from the back The next, see what that feels like. Take your time. He those aromas, fillers, popping of the plosives, Take your time. The most important thing with the drills. Now that we've done the drills, let's move on to the technicals. 9. American Rhythm: So the first and most important technical element of American accent is the American rhythm. So like I said, it's one thing to know how to say a bunch of the words, but we need to be able to speak in the melody of an American person. You know, that's one of those things where I'm sure you guys watch TV or movies and you're watching someone and you're like, that guy's not American. I know he's an Australian who is British Museum. And you look it up and you find out if that's the case. The reason is a lot of people don't learn and teach American rhythm. It's the most important thing. So what American Rhythm does, obviously, it helps us speak in the melody, but it also helps you say your sentences easier in American accent. We talked about the idea of having a lot of our words in one sentence. American rhythm helps you break it up. Now here's a little caveat about American Rhythm. Initially when we're learning it, it's going to feel like, it's gonna feel like robotic. You're gonna feel like, but I'm just saying a monotone. I don't want to sound monotone. That's how we're going to learn it. Once we've kind of learned the rhythm, then of course you can break out and you can say it in different ways, but still stick to that melody. So let's rock into the different elements of the American rhythm. So here's the first thing to think about with American rhythm. Americans break their sentences up intersections of 369 or 12. It's very rarely 12. That's only if there's a really badly written sentence or if you're kinda rattling off a list like a grocery list or a list of different terms. So think about the fact that Americans break their sentences up into 369. We're going to use for this section a monologue from Good Will Hunting to kind of go through it. So I'm gonna give you one sentence. Here it is on the screen. Now, why shouldn't I work for the NSA? That's our sentence. This is how it's going to be broken up. We're going to use a forward slash. Why should I work for the NSA? As you can see, we've got three sections. Why should I work for the NSA? So the question is, are i, we know we're going to break it up into three. And those rhythm Marx's kinda forward slashes. We're gonna take a slight pause. We've got that, we've broken it up into three. But the question is, how do we do that? We can't just go slash and our sentences wherever we want. Otherwise, we'd have chaos and then we're not really learning anything, right? So there are going to be three steps. Step one, I want you to look for punctuation. Anytime we find punctuation in a sentence, poet slash, yep. So anytime that's where you get a star, you're not going to start at the start of the sentence. You're going to go through the sentence, look for any punctuation and put your forward slashes there immediately. Let's pick another sentence from Good Will Hunting. This is the second sentence in that monologue. That's a tough one, but I'll take a shot. So first step punctuation, we see that we've got a comma right there. So we're gonna put a forward slash bone. That's a tough one, but I'll take a shot. So now we've got two sections, but we still need one more. Now, yes, there are always exceptions to the rules. Sometimes you might have a sentence that I don't know. Let's say a sentence like I do. Obviously that's not going to have three seconds because it only got two words, right. Always exceptions to the rules where I really want you to try hit 369. So going back to our sentence, that's a tough one, but I'll take a shot. Step two in American rhythm is pronouns. Prepositions and conjunctions? Yes, when back in light years, six year five English or fifth grade for Americans who are watching this. And we're gonna look at pronouns, prepositions, and conjunctions. You can put a rhythm Mach before or after pronouns, prepositions and conjunctions, as long as it makes sense with the logic of what the sentence is trying to say. So let's make this as an intellectual as possible. Pronouns or any of those words that refer to a person, a place he, she, it, they, him was like that. Preposition. Prepositions are those words that refer to the relationship of one object to another on behind, over, around beneath words like that. Conjunctions are generally those little two, three-letter words that join clauses or that allow our sentence to keep going. So for example, I went to the zoo, Then I saw a monkey, but the monkey was asleep. So words like that. Yeah, two but all those kind of words now it can do is you can go into Google and get a whole list of them. Be careful though, because what it's going to show you is every, almost every word is some form of pronoun, preposition or conjunction. So what I want you to do is avoid the word, the, avoid the word a. Otherwise you just going to have white shoe. Many options. Let's go back to our sentence. That's a tough one, but I'll take a shot. We now need to identify pronouns, prepositions, and conjunctions. So let's have a look. We've got, That's a tough one, but I'll take a shot. We've got but conjunction. Let's use aisle as a pronoun as well. So now we've got two places where we could possibly put our rhythm mark. We've got but and we've got aisle. We've already got one at the comma. So the place where it makes most sense to put our rhythm Mark is right here. That's a tough one, but slash, I'll take a shot. Now, that's what we want to do. You could put it up for the aisle. Let's see what that sounds like. That's a tough one, but I'll take a shot. Still good. But I think it's much easier to say that's a tough one, but I'll take a shot and that's what the sentence is saying. All right. Let's do another sentence. Say I'm working at the NSA. Very short sentence and he punctuation. No. So now we're gonna go with pronouns, prepositions, conjunctions, say I'm, that's a good one working at conjunction, the NSA. So now we can put a forward slash before or after these pronouns, prepositions, conjunctions. This is where I would put it, say slash, I'm working slash at the NSA. So let's see how we're gonna say that. Say I'm working at the NSA, makes sense to me. So we've got punctuation. Step one, pronouns, prepositions, conjunctions. Step two. Step three is a step you're going to take on a rare case. So you might say you got a sentence and there's like five sections in your URL. I need one more. What you're gonna notice is that a lot of AR, verbs are always going to be in rhythm marks of their own. We've got work enough air sentence. Why should I work for the NSA? Saying I'm working the NSA, I'll take a shot. So what we're gonna do is we're going to actually not only have berms, we're gonna call them the clusters, any 23 word kind of close. That is doing with get shot, get killed, jumping over, putting in things like that. So worst case scenario if you just can't bind anymore Kinda places to put your rhythm marks, you can isolate your verb clusters. So those are the steps in getting a perfect American Rhythm, punctuation, pronouns, prepositions and conjunctions and verb classes. In the next chapter, what we're gonna do is we're going to try and apply this to the Good Will Hunting model. So let's go ahead and do that. 10. American Rhythm - Application: So we're gonna do some application of our American rhythm to the Goodwill Hunting monologue. I'm just gonna put up a little bit of it on the screens. We're just going to work a little section. What you guys can do as well as you can even go to magazine articles, newspaper articles, other monologues, books. And what you can do is you can practice on those. You can literally take a little pencil and rhythm up all of those texts that you have on hand. If you're on the bus, on the train, rhythm it up. So let's chunk up the model up and let's see how we go with applying the American rhythm. So we already did the first sentence in the last chapter. Why should i slash work slash for the NSA? The reason we do that is because we've got I pronouns, prepositions, conductance, and we've got four pronouns, prepositions, conjunctions. Now we couldn't do, why shouldn't I worked for the NSA? But that sounds a little bit. The next one we could do is, why should I work for the NSA? Again, that doesn't make any sense. So with only makes sense to say, why should I work for the NSA? And what you'll notice there is we've got the right in the middle. One little thing you're going to also notice in that sentence is a word for. So when the word of four is in the middle of a sentence, I want you guys to say for, so FQR, FIR, FIR, whichever one makes sense to you for, why should I work for the NSA? Unless you want to really stress the word for, You're gonna say first. So you could say, why should I work for the NSA? But that's when you want to stress it. When you don't want to stress it. Why shouldn't I work for the NSA? Let's do the next one. That's a tough one, but I'll take a shot. So we covered that. Say I'm working at the NSA. We covered that to let's go to the next one. Slightly longest sentence. Somebody puts a code on my desk, something nobody else can break. So step one, punctuation, Yeah, we have a common bone. Now we have two sections. Step to pronouns, prepositions in conjunction. Let's see. We've got on right preposition. We could use somebody and nobody, but in this case, I don't think we have to. So we've got on I think it makes most sense to put the forward slash before the arm. So that way we get somebody puts a code on my desk, something nobody else can break. And that makes sense, right? Somebody is doing this on that for this purpose. That's the logic of the sentence. And so the next one, maybe I take a shot at it and maybe I break it. This sentence is going to have a couple of options. So let's go through them. We've got I we've got at we've got it. We've got, and we've got I. We have a lot of pronouns, prepositions, conjunctions. Now what that means, it doesn't mean we can put slashes and every single one. It just means we've got some more choice. Remember, we still only need a section of three or six. This sentence is quite short, so it's going to only have three. This is where I would put it. Maybe I take a shot at it, slash and maybe slash, I break it. You could also say maybe slash, I take a Shi'a slash and maybe I break it. You could also go, maybe I take a shot at it, slash and slash, Maybe I break it. Lots of options. But as long as you've got the logic of the sentence, that's what matters. Maybe I take a shot at it and maybe I break it. Let's do a longer one Now. We're going to skip a couple of the lines is you see, we're gonna go into this sentence. But maybe that code was the location of some rebel army in North Africa or the Middle East. Are, are, are, are, are millions of hours in that sentence. So this is really important. Let's look for some punctuation. No punctuation. So we're gonna go to step two, pronouns, prepositions and conjunctions. We'd got, but we've got of in, or I think I like that. So let's find where we gonna put them. First of all. But maybe that code was the location that makes sense of some rebel army slash in North Africa slash or the Middle East. Now we have five sections, so there is one more place we can put this with the mark, and it's actually after the war as well. So we're going to break it up like this. But maybe that code is the location of some rebel army in North Africa or the Middle East. Breaking it up like that makes it so much easier to say, does hours just come out and they flow? Yeah, so make sure you pay attention to how you break up your sentence for rhythm. This is how we're going to say this section of the monologue author is a text up on the screen. Why should I work for the NSA? That's a tough one, but I'll take a shot. Say I'm working at the NSA. Somebody puts a code on my desk, something nobody else can break. Maybe I take a shot at it and maybe I break it and I'm real happy with myself because I did my job well, but maybe that code was the location of some rebel army in North Africa or the Middle East. What you're going to notice there is that word but is isolated by itself in this monologue. And generally, Americans, Judy sting, which I like to call headline words. So especially when they're telling a story, they'll AdWords and the start of the sentence that technically don't need to be there, but meanwhile, okay, so, so what you can do is you can isolate your headline words. For example, say I'm telling the story. A lot of people go do things, right? So get this. I was walking down the street. Then meanwhile, I saw this guy. Okay. But he then said, they always put these little words and stop headline words so you know, you can always isolate those as well. So that's a little example applying American Rhythm. I'm going to encourage you guys to, like I say, go find the book and newspaper articles and magazine, a script and just practice breaking it up. Yeah, 36 or nine. Remember there are always exceptions to the rules. Start at step one, punctuation, step to pronouns, prepositions, conjunctions. And then if you need to go to step three, verb clusters. 11. Downward Inflection: The next technical element is downward inflection. It's very important to remember that Americans inflate down at the ends of older sentences. And Australian person, for example, might inflect up. So they might say something like, I went to the zoo yesterday and then I saw a monkey. And the monkey was really fun and they'll keep on fighting up. But they're asking the question. So we want to make sure we don't do that. A lot of Americans, what they'll do is also they inflect down when they're asking questions. For example, the first sentence we used in a monologue, Why should I work for the NSA? So it almost sounds like a statement. So you're not going to say, why should I work for the NSA and go up, why should I work for the NSA? So in flight down, if you have trouble inflecting down at the ends of your sentence, what I find always helps is you can literally use your head and kind of push down every time you get to an end of a sentence. Why should I work for the NSA? That's a tough one, but I'll take a shot, say I'm working for the NSA. So you always go down. Now, one of the other things to remember is when you, when you inflate down, it doesn't mean you have to go deep. So it doesn't have to go. Why shouldn't I work for the NSA? Right? You don't have to varied o like that. So just make sure you don't go up. So why should I work for the NSA? That's a tough one, but I'll take a shot. Most people teach down inflection and say yep, end of the sentence in flight down. What a lot of people don't teach though, is the fact that not only do Americans inflect down at the ends of their sentences, they also inflect down at each and every single rhythm mark. That is why it's so important to put the rhythm in the right spot. So let's look at our rhythm from the first sentence. Why should I work for the NSA? You're gonna want to flag down, why shouldn't I work for the NSA? Yeah, now when you're doing downward inflection is going to be very initially, it's difficult to kind of make sure you try and get your own kind of spin to it in your own voice and your own flavor. So what I want you to do is first to just get the inflection. Why should I work for the NSA? That's a tough one, but I'll take a shot. Sounds robotic, Cool. So now let's add a bit of flavor. Why should I work for the NSA? And that's a tough one, but I'll take a shot. We still say the sentence fine. But when reflecting down. Now there are times where Americans inflect up and this is what I'm going to call an American upward inflection. So an Australian person, for example, would inflict like this, it would spike that American person's going to have a slight inflection. So they'll say things like, what are you doing today or what he went where or something like that. What you want is that we want as opposed to exactly one, right? So I don't kinda had that spike of inflection. You can have a slight inflection if you want, but always try to do a downward inflection, pretty self-explanatory in flight down at the end of your sentences and at every single rhythm. Ok. 12. The OU to AH Shift: Next is the auto shift. So Americans don't really have the sound in a lot of their words. They replace it with an ah, sound. So that's what we need to do as well. Here's an example. Let's look at a word like job. Yeah, Australian accent, job, British accent, job in NxN, job. So that a sound doesn't exist in American accent deg, and replace it with an i. So where do I jump? Job is now going to be spelt J, a, H B, job. Job becomes job. Let's look at another one. The word like Long becomes long, L, a, H, and G long. That's the reason Americans say the word Australia as opposed to Australia, which is how we would say it, right. Here's another one. Rocks, Brooks becomes rocks that AH, sound. Another one on, becomes on. Now you know why the sentence goes around the rugged rocks, the ragged rascal ran. Here's a few more word-like chronic, which is crop. Nick becomes chronic. So the sound becomes an ah, sound. That doesn't only apply to in the letter o is there, which is what we've done in our current examples. It's also when you've got lead is a, U, U, a. So for example, words like water, which is in British acts and water into nasa in water, you're going to have water, right? Push that sound. Now you might already do the r sound in your natural vaccine, but it's something to be very, very aware of. And you might actually have to push it up a little bit more than you do water. Another one is cold. I'll call him on the phone. Coal is going to be call I'll call him on the phone, call. Water. So those are the sounds that a sound makes. The o becomes an, ah. What you can do is again, go into a text, find a bunch of these order asha keywords, make the list and rattle them off. We've got long rocks, Bob, job, shot on water, pull another good one is caught by caught a fish will become, I caught a fish. And now the one I bought a bag of bananas will become, I bought a bag of bananas. Strange example. But you get the point. So o to shift really important, change that sound to an I. A lot of times people come a little soft on it. They go rocks. Rocks. You can push it a bit more. Rocks. Just oh, push it so much that you're gonna go racks. So that as opposed to ah, because ah, will become rocks. Too much. Rocks. Yeah. Oda should focus on it and be very specific and have that soft as opposed to a strange and shop sound. 13. The EEE Sound: The next technical is the ee sound. So American structs that e sound that the letter Y makes in a lot of words. So when the wise at the end of a word or in the middle of a word and an e sound. I simply want you to stretch it even more. Here's an example we would like very well become very. So you're going to spell it VR E. Yep. And the other one, every every That's why Americans will say stuff like every single day as opposed to every single day. So we got very every stretch the ESM, repeat the following after MY blackberry, blueberry, raspberry, every Very, very simple job, just stress that e sound. 14. Medial T Words: The next technical is the medial T. Technical, medial TO literally means middle t. So when there's a word with a T in the middle or a double tee in the middle, Americans will make it into a soft D. So word-like writer will become writer. So he's a writer. Is a writer. A word like liberty will become liberty. Statue of Liberty. Yeah. A word like patting, I'm patting the dog run petting the dog will become padding. Padding. Where like batting will become batting. Yeah, so make it a soft d sound. Now, the difference between a software design and a hard D sound is this, let's say we had batting, yeah, BIT TIG, it's going to be batting as opposed to batting, which is a hard DSL, a word like write-up, softy writer, Heidi would-be writer. So a really fun sentence to try to say is that a writer is a writer. Yeah, so you hit a hot day and then the salty, so soften those t's into soft DES. 15. The Soft E: The next technical and last technical is a soft ee sound. So what Americans do, those words that have the little i in them that have each sound like his sheet, him is Americans make it into a soft E. So a would like his will become, his away like shit will become, shit is, becomes, is in him hit. So it's going to have this soft ee sound. Now a lot of people naturally make that in the accents anyway. So if you do awesome, if you don't pay extra attention to the soft E because you could have an effect sentence. And then you have that one word like he's come up and you go, yeah, this is his job and his is really, really loud. Yep. So this is his job or that's his car. His soft a pretty symbol again, but that is the final technical. So we've got a bunch of the technicals. We've got a bunch of the drills. Now let's move on to some advanced technique. 16. Diphthongs: Now we're gonna get into some advanced technique called diphthongs. A diphthong is essentially a gliding vowels. That means two vowel sounds colliding into each other. Now there are things called troop thumbs, but we don't need to cover that because essentially again, is just overly intellectual stuff. It'll be so much of your brain, your bill, I can't do this, so we're just gonna focus on differences really, that's all you need to know. So I want you to think about it being too the lighting sounds. Why are we learning diphthongs? Americans have a thing where they embellish their words so they stretch out the word. So if it takes you, let's say 1 second to say a word, it'll take an American 1.2 seconds to say that same word because they embellish the words. Why did they embellish the words? This because their words contain diphthongs, two vowel sounds. So what we're gonna do is we're gonna run through eight different IP thumbs and you're gonna see exactly why Americans embellish the word. So the first dip thumb is I, a IHI, and that's gonna go I, this depth on a piece of words like price. So let us look at that word if we're going to spell it PR ICE, right? Pretty simple. What we're gonna do now is we're going to spell it with the diphthong. So it's gonna go p, r, a, h, i, i, c, e. So now literally the word has more letters in it, so it has to take you a little longer to save. So instead of saying price, you're gonna say price. Here are a few others. Price. Hi, my flight mice. Again, that dip lung sound is i, The next one is how? Make sure this one's a little nasally owl, as in mouth and WWI mouth. Now, trout, pretty easy. Number three is a collective funds a as in face, date, day. Let's look at the word day inside a DAY it's going to be d, a, e, de Grey, pain, rain. So that's number three. A, the next one, number four is o. So C has got that two sounds, or as in choice, boy, hoist. Number five is 00 h u, u, o, as in goat TO soul, road. Cold. Cold is a really important way to why people struggle to say, a lot of times you'll come forward. If I say an Indian speaker, gold, right, and become forward gold, that becomes an OR sound we want o, it's going to sound cold. Yeah, so make sure you get that. It's a difficult one. A lot of people struggle with this O sound, especially in the world cold, cold, goat TO The next one is ill. So again, not do that. You two syllables kinda that double sound, you as in QED. Few. Pretty simple. The next one is slightly more difficult. It's going to be u, h h r. That r is going to be really, really, really soft. So it's going to be if we just did you HH would always be, right. So that are kind of helped you fade it out. As in anatomy and million union scallions, Scalia. And you'll notice with a word like million, Americans are gonna make it a two syllable word, million as opposed to what are, what are other accents do? Million, right? So we don't want million, we want million. So that sound is that's the dip film. The final diphthong is a AA, AAA is going to be at, and that's going to come from the back of the neck. As in Adam, Africa, Atlantic, Apple, also for words like back that. So get that ass out really important. Now, if you struggled to make the ass out, maybe you'll speaking in the front, there's, You'll Malfoy you speaking in the middle. That sound can be difficult to make. Simply connect back edge the chess feel that vibration. That's the sound you want, AB Africa, Atlantic. And that's the final diphthong. 17. Double Syllable Words: The next technique is a simple technique called double syllable word. Americans have a lot of words that contain two syllables where a lot of other accents will make it one syllable. Example is real. So a lot of access was a real, which will be one real. But American who say real. Same with seal deal. He'll also went like aisle. They notice would like I owe a lot of people were like, oh, you know, I'll have one, I'll take a shot. I'll take a shot. So think about it being i, what you're gonna notice if you're kind of on track, It's going to be a diplomat as well. I, AHI, I'll take a shot. Two syllables. Io also heal. She'll two syllables. So even if a word says, like I say, we've got a word like really, yeah, that's going to be three syllables now, really, really, he was really, really tired as opposed to he was really, really tired. Yet, two-syllable words, real seal, deal, he'll make sure you hit them. Because again, missing that and slipping that will be an indicator of someone who is not an American. China do an American accent. 18. Final Thoughts: And gradually patients, you'd have got to the end of the video series for mastering the American accent. Here are some final thoughts about the American Accent. What I want you to really focus on is the drills. Drills is so, so, so important. So after doing this video series, what I would recommend is doing the drills about one to two times a day or so like a doctor saying this, there are one to two times a day for about 23 weeks. That'll just ensure that your eyes get nice and strong and you start consistently coming from the back of the neck. For a lot of people, the problem isn't making the sound. It's being consistent in the sounds. By doing the drills consistently, it's going to help you make consistent sounds like the are, the ARD order, our shift, the diphthongs, so stay consistent, especially just after you've done that, it's just gonna make sure you get the accent faster. One of the things that always breaks my heart is when people come to me and say, I've been working on my accent for two years and say, What have you been working on for two years? It doesn't take that long. And if you look, some people have different learning time, Some people might take a little longer, but two years is way too much. So what I want you to really focus on is doing it consistently. You just means you'll get your accent much faster and that's what we want. Another thing is when you, when you are doing all of this, you've got kind of a lessons. What I want you to do is I want you to practice it in the field. If you're in the state, that's even better. But if you're in another country and works to take your American accent, go out to McDonald's or GV, out to a phone store or to an electronic store. Their job is to ask you about you. If you're in a customer service situation like you're trying to buy a new phone plan, they're gonna ask you questions, but, oh, where are you from? Who are you? So keep your American accent and see if you can trick them into them thinking that your American adds the question, just say I'm from Los Angeles or something, right? So that's a good way to test your accent in the field. And finally, if you have any questions at all, hit me up. My email is right here on the screen now. Anything at all? You know, if you're like way I'm confused about this technique or distinct doesn't make sense to me or how do I go about trying to get this sound because I'm struggling just email, ask those questions that resources here for you so please don't get into a bad habit because that's the hardest thing to break. It's one thing to learn the American accent, but to learn it from a bad habit is when it becomes really difficult. So avoid getting into bad habits by clarifying, ask questions. I'm here, resources here for you to use, so please use it. Thank you for watching mastering the American acts. And I'm Ashwin goal. If you have any comments, feedback, concerns, he'll be up on my email. I'm always going to be adding more videos to this series, so keep an eye out for that. If you love this series, please tell your friends. If you hated the series, please don't tell your friends. And again, if you have any questions, please hit me up. Enjoy your new found in Burkean accent. 19. Common IT Industry Words: So you're in the tech industry, you're at Silicon Valley. And there were a bunch of words that American say that's very different to the rest of the world, especially if you're an Australian speak or a British speaker or an Indian speak of you from any of the African nations. This is a list of common tech words just to kind of help you out a little. So the first one we've got is algorithm. So we're gonna say algorithm, we're gonna get that acetone at the start, our algorithm. The next line is bandwidth. Bandwidth. Get the app for bandwidth. Let's go another one interface, we're actually gonna say as an American speaker interface. So it's going to be an i and n ER. The next one is frameworks at that a0 sound frameworks. The next one is software, so that all sound we're going to replace with an R. It's going to become software. Isn't X1? This is a fun one. Data architecture. So this instead of data, we're gonna say data. And for architecture we're going to get our sound nice and strong architecture. So Datta architecture is going to become data architecture firewall, get that or sound nice and strong firewall startup. So instead of stuff, we're gonna say startup that are sound again, really strongly startup service, service will get that sound a little strong. Service. And also the ER sound at this dot for Earth service backend. Pretty simple wood, but we want to really get that as sound in back, backend. And instead of backend, we're going to really stress the back, backend. Here are a few fun once HTML, FTP, HTTP, what you're gonna notice is Americans embellish their words. So even though we're saying a bunch of letters, I want you to pretend that those letters or words, so h, t, So that t, i want you to think about it being spelled T E. So you're just gonna have to embellish it a bit. Http, HTML, the letter m, let's make it e, m, m, l, let's make it EL L, HTML, FTP. Another good one operating system. It's going to be operating system so that our sound that will saying operating is going to become an R sound operating operating system protocol. Now, a lot of people have different ways of saying this word protocol. But we wanna say protocol that are sound has to happen at the end of the word protocol. Also, what you're gonna notice is we don't hit that T is hard protocol or protocols so that tea becomes really soft. Again, it's protocol. The next one is source code that, oh, sound in code has to become an AU from the back of the neck. So that way you get source code. Next one is gateway. That a sound has to be nice and strong and the word gate, so gateway. So those are some common words used in the IT and tech industry, pronounced in the American Accent. Hopefully that helps you out a little bit. 20. The TH Sound: So in this chapter we're going to talk about the th sound. The th sound is really important, especially if you're coming from an accent that is Russian Indian is a lot of accents that don't actually pronounce T-H sounds. So for the American accent, we really want to hit that TH sound. There are two types of T-H sounds, so we're gonna talk about Voice Th and voiceless T-H. Voiced TH sound include words like that. Those, this is the kind of sound of voiceless T-H sound is more airy. Words like with fifth, anything, birth, those kind of words. So first let us focused on the voiced TH sound. Here's how you can tell if it's a voiced TH sound. The voice TH sound has vocal cord vibration. That literally means when you're making a sound like you're gonna feel the vocal cords vibrating. That this, you can feel that vibration there. That's the voiced th, now the voice th, I want you to think about the tip of your tongue. The tip of your tongue actually comes between your teeth. This, if we really pushed it tongue out the UNO and automate this noise, right? So you want to actually get it just in between the teeth. That's the voiced DH, that's a placement of the voice TH sound that this, those. Now there are two common substitutions for the voiced th. That means there are two sounds that a lot of foreign accents make that are not made in the American accent. The first one we're gonna talk about is the dup sound. That's the d sound. So a lot of people will have a dup sound instead of the sound. For example, people will say word-like. Instead of the people will say of word-like, dat instead of that. So here are some common words that used the d substitution and the way we want to say it in an American accent. So D becomes the dat, becomes, that day, becomes They dare, becomes their load, becomes load. For example, I load him, it's gonna become, I load him. Remember that tip of the tongue is gonna be between the teeth. Breed becomes breathes. Make sure you breed is gonna become, Make sure you breathe. Get that tip of the tongue between the teeth. Breathe. Now the Voice Th, most of those sounds occur at the start of the word. That this dose, very rarely they're gonna happen at the end. One of the exceptions like we just went over was the word breathe. So now let's talk about the substitution. So a lot of foreign axons make the sound instead of the sound. For example, you will say z instead of v. So what happens when you're making the sound is the tip of your tongue is actually hitting the back of the top row of teeth. We want that tip of tongue to go between the teeth. So Z is going to become, the Zen is going to become, then xj is gonna become they close, is gonna become clothed. We need to clothe him as opposed to we need to close him. Now, one of the toughest things in an American accent is to actually join two t hate sounds. So for example, let's say we're saying a sentence like, I want apples with that. So I want apples with that. We want the width to finish before we say that, because that's a th, th, that's an example of a voiceless T-H joining into a voiced th. So it's very important to actually finish the words with that. A lot of people will say with that. So they'll make an S sound widths that we want to th sound with that. So now that we're on that example, let's talk about the voiceless T-H. The voices th is basically a t hate sound that is much more breathy. It's more airy. So just think about it going. So you want the air to come out from your lips. Voices, T-H sounds or words like thing, thought, with fifth, anything, both, nothing. So you hear that sound. So it's very important that when you're joining a voiceless and a voice t hates down in two separate words. You wanna finish each t hate sound before going on to the next. It is habitual to try and mess them together. That's what happens when you go with that, because you don't want to join them together with that. So remember, Take your time, finish the words like we've talked about in all the other chapters, Americans embellish their words and they've finished those words. So we wanna make sure just with the T-H sounds that we finished those words. So remember to recap. We've got voiced th, that then those this and voiceless T-H with fifth. Anything, nothing both very important to get that t hate sound. Your tip of your tongue generally if you're doing the dust sound is going to be hitting the top of your mouth. If you're doing the z sound is gonna be hitting the back of the top teeth. You wanna go in between the teeth. Remember, don't push it too much, because if you push your tongue away too far out, you're gonna go that it's almost impossible to speak. So remember just a little bit this, that those, the tip of the tongue is going to literally sit just between the top and bottom rows at the teeth. That is the th sound and the American accent.