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1000-hours/sounds-of-american-english/3.2.14-lr.md

@@ -32,18 +32,22 @@ There's a hidden motion when the `l` is at the end of a syllable. The tip of the
 
 Actually, it's not too challenging. With just a few minutes, it can be easily corrected.
 
-> * 先反复说 `ə... əl... ə... əl...` 这里格外需要注意：嘴唇张开之后没有其它动作，不要带嘴唇变化造成的 `ʊ` 的音色；从 `ə` 到 `l` 的过程中，保持声带振动，剩余的全靠舌尖移动完成……
+> * 先反复说 `ə... əl... ə... əl...` 这里格外需要注意：嘴唇张开之后没有其它动作，**不要带嘴唇变化造成的 `ʊ` 的音色**；从 `ə` 到 `l` 的过程中，保持声带振动，剩余的全靠舌尖移动完成……
 > * Start by repeating `ə... əl... ə... əl...` Here's a crucial point: after opening lips, make *no* other movements. Avoid adding the sound of `ʊ` caused by lip changes. During the transition from `ə` to `əl`, while maintaining vocal cord vibration, let the tip of your tongue handle the rest...
 > * 接着直接反复说 `əl... əl...`
 > * Next, repeating `əl... əl...`
-> * 再反复说 `əlk... əlk...` 
+> * 再反复说 `əlk... əlk...`
 > * Follow with repeating `əlk... əlk...`
-> * 现在反复说 `mɪəlk... mɪəlk...` 现在需要格外注意：为了 `m` 发声所以需要张开嘴唇，但，此后嘴唇没有其他动作，不要带着 `ʊ` 的音色……
+> * 现在反复说 `mɪəlk... mɪəlk...` 现在需要格外注意：为了 `m` 发声所以需要张开嘴唇，但，**此后嘴唇没有其他动作，不要带着 `ʊ` 的音色**……
 > * Now, keep saying `mɪəlk... mɪəlk...`. Again, pay special attention here: lips are opened to make the `m` sound, but after that, there should be no other lip movement, thus avoiding unnecessary `ʊ` sound.
 
-再用同样的方式多练练其他几个 `l` 处于音节末尾的词汇，比如：
+再用同样的方式练练 *girl* `gəːl`（常常会被误读成 `/gəʊl/`）, *world* `/wəːld/`（常常会被误读成 `/wəʊd/`）。
 
-Practice some other words where `l` is at the end of the syllable, using the same method. For example:
+Practice pronouncing *girl* `gəːl` (often mispronounced as `/gəʊl/`) and *world* (often mispronounced as `/wəʊd/`) the same way.
+
+以 `l` 处于音节末尾的常用词汇很多，读得时候要注意，要加上 `ə`，比如：
+
+There are many common words where `l` ends the syllable. Be sure to include the `ə` sound when pronouncing them. For example:
 
 > *fail*, *file*, *sell*, *sale*, *tell*, *tale*, *trail*, *drill*...
 

1000-hours/sounds-of-american-english/3.4-connecting.md

@@ -4,22 +4,20 @@
 
 *Syllables* are the basic building blocks of natural speech flow. Just like individual notes in a melody, one syllable alone often lacks meaning, but when strung together in various ways, they can create a wonderful tune. Similarly, when many syllables are combined, they can form meaningful expressions for communication.
 
-英文的音节构成方式很多（[3.3.1](3.3.1-structure)），每个音节围绕着唯一的元音，前后都可能有若干个辅音…… 于是，音节与音节连接在一起的时候，可能出现的情况总计 *4* 种：
+英文的音节构成方式很多（[3.3.1](3.3.1-structure)），每个音节围绕着唯一的元音，前后都可能有若干个辅音…… 于是，音节与音节连接在一起的时候，可能出现音素变化的情况总计 *3* 种，因为 “元音 + 辅音” 的组合不会产生音素上的变化：
 
-The construction of syllables in English is varied, each centering around a unique vowel that can be surrounded by several consonants. When syllables are linked together, there are *4* possible combinations:
+The construction of syllables in English is varied, each centering around a unique vowel that can be surrounded by several consonants. When syllables are linked together, there are *3* possible combinations, in which phonemes might well have variations, since the combination of a "vowel + consonant" doesn't result in changes to the phonemes.:
 
-> * 元音 + 元音
-> * Vowel + Vowel
-> * 元音 + 辅音
-> * Vowel + Consonant
 > * 辅音 + 元音
 > * Consonant + Vowel
 > * 辅音 + 辅音
 > * Consonant + Consonant
+> * 元音 + 元音
+> * Vowel + Vowel
 
-每一种组合都可能产生很多**音素上的变化**。在母语习得的过程中，这些变化是经年累月潜移默化学会的；格外有趣的是，人们对这些细节虽然已经非常熟练，却无法说不出具体的操作方法论。学外语的时候不一样 —— 尤其是已经识字的成年人 —— 可以参考语言学家们研究整理过的方法论，进而注意到每个细节，而后再通过反复逐个突破。
+以上每一种组合都可能产生很多**音素上的变化**。在母语习得的过程中，这些变化是经年累月潜移默化学会的；格外有趣的是，人们对这些细节虽然已经非常熟练，却无法说不出具体的操作方法论。学外语的时候不一样 —— 尤其是已经识字的成年人 —— 可以参考语言学家们研究整理过的方法论，进而注意到每个细节，而后再通过反复逐个突破。
 
-Each combination can lead to a series of *phonetic variations*. These nuances are subtly acquired over years in our native language learning process. Interestingly, while we can use these details proficiently, we often cannot articulate exactly how we do it. However, when learning a foreign language - especially for literate adults - we can refer to strategies developed by linguists, paying attention to each detail and making breakthroughs through repetition.
+Each combination above can lead to a series of *phonetic variations*. These nuances are subtly acquired over years in our native language learning process. Interestingly, while we can use these details proficiently, we often cannot articulate exactly how we do it. However, when learning a foreign language - especially for literate adults - we can refer to strategies developed by linguists, paying attention to each detail and making breakthroughs through repetition.
 
 需要注意的是，当我们讨论多个音节组合在一起的时候，有两种情况。第一种情况是**多音节词汇** —— 当然是连着的一串音节。而另外一种情况其实也同样常见，在自然语流中更多的是多个词汇组合在一起构成的**意群** —— 实际上也是连着的一串音节。
 

1000-hours/sounds-of-american-english/3.4.1-stop.md

@@ -1,11 +1,48 @@
-# 3.3.3 停顿（Stop）
+# 3.3.3 顿与停（Stop and Pause）
 
-在自然语流中，多音节词汇里常常夹杂着停顿（*stop*）—— 这是很多初学者干脆感受不到的，所以，他们不是忽略了那些停顿，而是压根就不知道那里竟然存在停顿。
+在讨论**连接**（*connecting*）之前有必要先研究一下**顿**（*stop*）与**停**（*pause*）—— 这一步至关重要、不可或缺。（为了便于理解，在中文表述中，我们用 “停顿” 表示 “顿”，用 “暂停” 表示 “停”。）
 
-比如，在 *hotdog* 这个词里，`t` 的声音是听不到的，但，它的舌尖动作却是**完整**的，所以，能够听到的不是 `/ˈhɑtˌdɔg/`，也不是 `/ˈhɑˌdɔg/`，而是 `/ˈhɑ·ˌdɔg/` —— 这里的 `·` 表示因 `t` 的舌尖动作完整却没有发出任何声音而产生的**停顿**。
+Before delving into the concepts of *connecting* words, it's essential to first understand *stops* and *pauses*, which is a crucial step and can't be overlooked.
 
-（先别着急，这类停顿是如何产生的，下一个章节会深入讲解。）
+在自然语流中，多音节词汇里常常夹杂着**停顿**（*stop*）—— 这是很多初学者干脆感受不到的，所以，他们不是忽略了那些停顿，而是可能压根就不知道某些地方竟然存在停顿。
 
-另外一个常见的停顿来自于重读音节。当我们想要强调某个音节的时候，为了能把它读得相对较重，在此之前往往需要停顿一下 —— 做个准备。
+In natural speech flow, many polysyllabic words are often peppered with *breaks*. This is something many beginners might not even notice, not because they ignore these breaks, but because they might not realize there are supposed to be breaks in certain places.
 
-比如，你可以试着读一下 *absolutely* `/ˌæbsəˈlutli/`…… 为了把 `/lu/` 这个音节读成**重音**，你可能就会不由自主地在发出 `sə` 之后略微停顿一下…… 拿之前的例子 *individual* `/ˌɪndəˈvɪdʒəwəl/` 再试一下，若是在 `/vɪ/` 之前略微停顿一下，就能相对更为轻松地将它读成重音。
+一个常见的停顿来自于**重读音节**。当我们想要强调某个音节的时候，为了能把它读得相对较重，在此之前往往需要**停顿**一下 —— 做个准备。
+
+ When we want to emphasize a syllable, we often need to *stop* briefly before it to prepare for the pronunciation.
+
+比如，你可以试着读一下 *absolutely* `/ˌæbsəˈluːtli/`…… 为了把 `/lu/` 这个音节读成**重音**（顺带说，这是个长元音），你可能就会不由自主地在发出 `sə` 之后略微**停顿**一下…… 拿之前的例子 *individual* `/ˌɪndəˈvɪdʒəwəl/` 再试一下，若是在 `/vɪ/` 之前略微**停顿**一下，就能相对更为轻松地将它读成**重音**。
+
+Take the word *absolutely* `/ˌæbsəˈluːtli/` for instance. To *stress* the `/luː/` syllable, which is long, you might find yourself involuntarily stopping slightly after pronouncing `sə`. The same practice applies to the word *individual* `/ˌɪndəˈvɪdʒəwəl/`, which you've practiced before. A brief stop before `/vɪ/` makes it relatively easier to stress.
+
+另外一个更为常见的**停顿**相对比较微妙，它就在那里，可不仅听不到，也看不到。
+
+Another frequent stop is more subtle. It's there, but you can't see or hear it.
+
+比如，在 *hotdog* 这个词里，`t` 的声音是听不到的，但，它的舌尖动作却是**完整**的，所以，能够听到的不是 `/ˈhɑtˌdɔg/`，也不是 `/ˈhɑˌdɔg/`，而是 `/ˈhɑ·ˌdɔg/` —— 这里的 `·` 表示因 `t` 的舌尖动作完整却没有发出任何声音而产生的**停顿**。你可以再试试 network `/ˈnɛtˌwərk/` 这个词 —— 这里面的 `t` 也是同样的机制。
+
+Consider the word *hotdog*. You can't hear the 't,' but the articulation is complete. So instead of hearing '/ˈhɑtˌdɔg/' or '/ˈhɑˌdɔg/,' you hear '/ˈhɑ·ˌdɔg/' – the '·' represents a stop created by the 't' sound's complete articulation without any audible output. Try the same with 'network' – the 't' applies the same principle.
+
+这类**停顿**（*stop*），也叫**塞音**，最常见的有 3 种：
+
+There are three main types of stops, in English:
+
+> * 齿塞音：`θ`、`ð` —— I wish the *pa**th*** to success was smoother. 第四个单词 `/pæθ/` 末尾的 `θ` 就是一个齿塞音。
+> * dental stop: `θ`, `ð`  - For example, in "I wish the *pa**th*** to success was smoother", the final `θ` in `pæθ` is a dental stop.
+> * 龈塞音: `t`、`d` —— He *trie**d*** to discuss his idea with his boss. 第二个单词 `/traɪd/` 末尾的 `d` 就是一个龈塞音。
+> * alveolar stop: `t`, `d` - As in "He *trie**d*** to discuss his idea with his boss," where the final `d` in `/traɪd/` is an alveolar stop.
+> * 喉塞音：`k`、`g` —— I don't *thin**k*** that is true. 第三个单词 `/θɪŋk/` 末尾的 `k` 就是一个喉塞音。
+> * glottal stop: `k`, `g` - An example would be "I don't *thin**k*** that is true," where the `k` at the end of `/θɪŋk/` is a glottal stop.
+
+不管是哪一种，都是因为之前的一个辅音**虽然并未发出声音却动作完整**造成的。
+
+Regardless of the type, such a stop occurs when a previous consonant is fully articulated without actually producing sound.
+
+除了**停顿**（*stop*）之外，一句话可能会被分为若干个**意群**（*meaning group*），意群之间总是有着明显的**暂停**（*pause*）。
+
+Apart from *stops*, a sentence can be divided into several *meaning groups*, each separated by an obvious *pause*.
+
+比如，*I don't think I've got any milk left*. 这句话显然会被分割为至少两个**意群**：*I don't think* | *I've got any milk left*. 因为两个意群之间有**暂停**，所以 *think* `/θɪŋk/` 末尾的 `k` 不会与后面的只有一个元音的单音节词汇 *I* `/aɪ/` 连在一起。另外，请注意这里的 *milk* —— 这个词你专门练过 —— 它末尾的 `k` 会有个**喉塞音**……
+
+For example, the sentence "*I don't think I've got any milk left.*" would likely be split into two meaning groups: "*I don't think*" and "*I've got any milk left.*" Because there's a *pause* between these groups, the `k` at the end of *think* doesn't connect with the following monosyllabic word *I*. Additionally, note the word *milk* - a word you've intensely practiced before - at the end, where there's a *glottal stop* with the `k` sound.

1000-hours/sounds-of-american-english/note-syllables.md

@@ -27,3 +27,34 @@ In general, there are the following few forms of syllable composition in English
 如果一个单词由多个音节构成的话，那么为了能够读得顺畅、清晰且易于识别，那么其中可能会有某个音节是**重音**；如果音节数量更多，可能还会有某个或某些音节是**次重音**。一般来说，**一个词汇只有一个重音**，**但有可能存在多个次重音**。比如 *serendipity* `/ˌserənˈdɪpɪti/`<span class="speak-word-inline" data-audio-uk="/audios/us/serendipity-us-jen.mp3"></span>。之前的那个 *19* 个音节构成的词汇，其中有 *7* 个**次重音**，*1* 个**重音**。
 
 When a word is composed of multiple syllables, for smooth and clear pronunciation that's easily recognizable, one syllable may be stressed -- these are called *primary stresses*. If the word has many syllables, it could also have some *secondary stress*. Normally, **a single primary stress exists in each word**, **but there might be several secondary ones** - take the word *serendipity* `/ˌserənˈdɪpɪti/`<span class="speak-word-inline" data-audio-uk="/audios/us/serendipity-us-jen.mp3"></span>as an example. That whopping 19-syllable-long leviathan we examined before had 7 instances of secondary stressing to accompany its lone instance of primary stressing.
+
+
+
+
+
+
+
+
+creature
+
+various
+
+reality
+
+coexist
+
+evaluate
+
+poetic
+
+diode
+
+Sequoia
+
+Video
+
+Vienna
+
+Continuation
+
+Aerobics