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A player doing a keepie-uppie Association football (more commonly known as football or soccer) was first codified in 1863 in England, although games that involved the kicking of a ball were evident considerably earlier. A large number of football-related terms have since emerged to describe various aspects of the sport and its culture. The evolution of the sport has been mirrored by changes in ...
The high rising terminal (HRT), also known as rising inflection, upspeak, uptalk, or high rising intonation (HRI), is a feature of some variants of English where declarative sentences can end with a rising pitch similar to that typically found in yes–no questions.
Pitch (or "high low jack") is an American trick-taking game equivalent to the British blind all fours which, in turn, is derived from the classic all fours (US: seven up). Historically, pitch started as "blind all fours", a very simple all fours variant that is still played in England as a pub game. [ 1 ]
The whistle register is the highest phonational register, that in most singers begins above the soprano "high D" (D 6 or 1174.6 Hz) and extends to about an octave above (D 7 or 2349.3 Hz). It is created by using only the back of the vocal folds. The lower part of the whistle register may overlap the upper parts of the modal and falsetto ...
The first ever strike zone challenge in an MLB game is a successful one Cody Poteet's pitch is overturned from a ball to a strike, changing the count from 1-1 to 0-2 against Max Muncy pic.twitter ...
Puberphonia (also known as mutational falsetto, functional falsetto, incomplete mutation, adolescent falsetto, or pubescent falsetto) is a functional voice disorder that is characterized by the habitual use of a high-pitched voice after puberty, hence why many refer to the disorder as resulting in a 'falsetto' voice. [1]
Very high; see also in altissimo alto High; often refers to a particular range of voice, higher than a tenor but lower than a soprano alzate sordini Lift or raise the mutes (i.e. remove mutes) am Steg (Ger.) At the bridge (i.e. playing a bowed string instrument near its bridge, which produces a heavier, stronger tone); see sul ponticello amabile
The above-specified tenore contraltinos were characterized by high, brilliant and acrobatic singing, and could bravely confront baritenors in the hot-blooded challenge duets, [13] as well as finely sing lovers’ elegiac melodies; [14] they were, above all, able to sustain much higher tessiture than those of baritenors themselves. [15]