FALSETTO - translation to arabic
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FALSETTO - translation to arabic

VOCAL REGISTER JUST ABOVE THE MODAL VOICE REGISTER
Falseto; Fistelstimme; Fausset; Fallset; Falsetto register
  • Glottal cycle, falsetto
  • Vocal fold, scheme

FALSETTO         

الصفة

مُتَكَلَّف ; مُصْطَنَع ; مُفْتَعَل

falsetto         
صوت رأسى جـ أصوات ، صوت أعلى من الدرجة الطبيعية فى صوت الرجال
صوت عالي الطبقة بصورة مصطنعة      
falsetto

Definition

falsetto
n.
Head voice.

Wikipedia

Falsetto

Falsetto (, Italian: [falˈsetto]; Italian diminutive of falso, "false") is the vocal register occupying the frequency range just above the modal voice register and overlapping with it by approximately one octave.

It is produced by the vibration of the ligamentous edges of the vocal cords, in whole or in part. Commonly cited in the context of singing, falsetto, a characteristic of phonation by both sexes, is also one of four main spoken vocal registers recognized by speech pathology.

The term falsetto is most often used in the context of singing to refer to a type of vocal phonation that enables the singer to sing notes beyond the vocal range of the normal or modal voice. The typical tone of falsetto register or M2, usually has a characteristic breathy and flute-like sound relatively free of overtones—which is more limited than its modal counterpart in both dynamic variation and tone quality. However, William Vennard points out that while most untrained people can sound comparatively "breathy" or "hooty" when using falsetto production, there are in rarer cases individuals who have developed a much stronger falsetto sound production which has more "ring" to it.

Examples of use of FALSETTO
1. He sang in a falsetto voice and took female points a lot.
2. "You‘ve got a bright future," he told the crooner, known for his long locks, flashy smile and falsetto.
3. "Well, it‘s competition!" he exclaims, his voice breaking into a falsetto, as it does when he gets agitated.
4. It‘s really far away from us." Sigur Ros‘s immense, uncategorisable sound, fronted by Birgisson‘s unearthly falsetto, is undoubtedly evocative – but nobody can agree on what exactly it evokes.
5. Equally startling was the music, softening and double–tracking Gaye‘s falsetto against a wash of bubbling percussion, swaying strings and chattering guitars.