182 Sentences With "low tone" | Random Sentence Generator

"I'd be very good at a low tone," Trump said.

He spoke with a low tone of voice, as if imparting a secret.

There is a deep, low tone – a tuba, in fact – evoking a foghorn at night.

Always speaking calmly and with a low tone of voice, Zidane looks shy at times.

Lifetime is furthering its high/low tone this weekend with the new movie Menendez: Blood Brothers.

The hum ranges from distant booms to a low tone that leaves locals wondering if they're hearing things.

She also speaks in a low tone that has caused many to question whether she's using her authentic voice.

" Speaking in a low tone in a hotel cafe, Win Min added: "Given that he was a Muslim," ultra-nationalists considered Ko Ni "a target.

In court on Friday, Manafort stood stock still before the judge, answering her questions with single words in a low tone, or sat at the defense table.

The guttural verses of Bryant Myers remind me of 21 Savage's menacingly low tone, while the chameleonic reggaeton vet Daddy Yankee croon-raps over "Vuelve" like Ty Dolla Sign would.

At one point in the evening, Ms. La Barbara stood in an aisle, staring as if lost in thought and emitting a low tone about a foot from my left ear.

"Babies with Down syndrome, because of the low tone they don't even smile as fast as a typical baby would and being a mom those are one of those things you look for," said Rojas.

"It could be like a low-tone motor, or metal scraping, or like driving in a car with the back window open," said Dr. Smith, director of the Center for Brain Injury and Repair at the University of Pennsylvania.

I was in the D.C. bureau and I just come back from one of those crazy Watters&apos World and I was all cocky and I rolled into the green room and Charles in that kind of low tone says, Jesse, thank you so much for allowing me to be in your world.

Barapasi is tonal, with a high tone and low tone.

Chilcotin is a tonal language with two tones: high tone and low tone.

The Hari & Lama and Gawne dictionaries both use ह (h) after the vowel to mark low tone (e.g. टाह ʈà 'pheasant'), while in (the Syuba orthography a visarga represents the low tone (टाः ʈà 'pheasant'). High tone is left unmarked.

Resting muscle tone varies along a bell-shaped curve. Low tone is perceived as "lax, flabby, floppy, mushy, dead weight" and high tone is perceived as "tight, light, strong". Muscles with high tone are not necessarily strong and muscles with low tone are not necessarily weak. In general, low tone does increase flexibility and decrease strength and high tone does decrease flexibility and increase strength, but with many exceptions.

Kyriong has a three tone system; high, medium and low. Low tone is often accompanied by breathy voice.

Fante, like all other varieties of Akan, has two contrastive tones, high tone (H) and low tone (L).

In principle, every syllable can be pronounced with either a high or a low tone. However, low tone does not behave the same as the other two, as high tones can "spread" into low-toned syllables while the reverse does not occur. A low tone is therefore better described as the absence of any toneme; it is a kind of default tone that is overridden by high or falling tones. The falling tone is a sequence of high-low, and occurs only on long vowels.

Tone distinctions in Yabem appear to be of relatively recent origin (Bradshaw 1979) and still correlate strongly with obstruent voicing contrasts (but not in its closest relative, Bukawa). Only high tones occur in syllables with voiceless obstruents (p, t, k), and only low tone occurs in syllables with voiced obstruents (b, d, g). The fricative /s/ is voiced in low-tone syllables but voiceless in high-tone syllables. Other phonemes are neutral with respect to tone and so occur in both high-tone or low-tone environments.

Yabem has a simple system of register tone that distinguishes high-tone syllables from low-tone ones. In the standard orthography, high-tone syllables are unmarked, and the nuclei of low-tone syllables are marked with a grave accent, as in oc 'sun' vs. òc 'my foot' or uc 'breadfruit' vs. ùc 'hunting net'.

On this page the orthography mostly follows Hari's transcription, as outlined in the phonology. Unlike Hari, representation of tone follows the International Phonetic Alphabet, with accents to mark high and low tone (e.g. tó 'rice' and tò 'stone' respectively). This avoids Hari's use of 'h' to represent both low tone and the sound [h].

Other than in Korku, whose syllables show a distinction between high and low tone, accent is predictable in the Munda languages.

Children with normal muscle tone are expected to achieve certain physical abilities within an average timeframe after birth. Most low-tone infants have delayed developmental milestones, but the length of delay can vary widely. Motor skills are particularly susceptible to the low-tone disability. They can be divided into two areas, gross motor skills, and fine motor skills, both of which are affected.

The sonorant also carries tone when it is syllabic. Here again, the high tone is marked with an acute while the low tone is left unmarked . Even though low tone is the default, these syllables are not underspecified for tone: they have a distinct phonetic tone, and their pitch is not merely a function of their environment. This contrasts with the related Carrier language.

High-tone verbs are either unaccented or are accented on the penultimate mora, as in Tokyo. Low-tone verbs are either unaccented or accented on the final syllable, triggering a low tone on unaccented suffixes. In Kyoto, verbal tone varies irregularly with inflection, a situation not found in more conservative dialects, even more conservative Kansai-type dialects such as that of Kōchi in Shikoku.

Unaccented syllables always bear the low tone (toneless). The high and rising tones occur only in monosyllabic, monomorphemic lexemes. Multisyllabic morphemes are stressed on the first syllable.

At first, I thought had mispronounced Khong (low tone) for Khong, I now realize there is no mistake. Taking Hoi Khong for example, it means big snail.

Navajo has two tones: high and low. Orthographically, high tone is marked with an acute accent over the affected vowel, while low tone is left unmarked This reflects the tonal polarity of Navajo, as syllables have low tone by default. Long vowels normally have level tones . However, in grammatical contractions and in Spanish loan words such as ('money' from Spanish ), long vowels may have falling or rising tones.

Nǁng moras may carry a high or low tone, /H/ or /L/. A typical lexical word consists of two moras, and so may have a high (HH), low (LL), rising (LH), or falling (HL) tone. Monomoraic lexical roots, such as 'mouth', are high- rather than low-tone by a 5–1 margin. CVV and CVN roots are HH, HL, and LH with about equal frequency, with LL slightly less common.

Tera is a tonal language, distinguishing high, mid and low tone. Tone is not indicated orthographically since no minimal trios exist; minimal pairs can be distinguished by context.

In sentences involving focused words and/or phrases, the rising tones only last until the focused word; all following words carry a low tone. This intonation pattern extends to wh-questions, as wh-words are normally considered to be focused. In yes-no questions, the rising tones may be more exaggerated, and most importantly, the final syllable of the final word in the sentence takes a high falling tone instead of a flat low tone.

Both can be seen in effect in the following example (Low tone is unmarked): kaláwa 'boat', kaláwá khuúlu 'the biggest boat'. In kaláwa, High doubling is canceled because Final Lowering applies, so the last syllable has a Low tone. In the second example, the first H tone in kaláwá has spread to the next syllable (High Doubling) and Final Lowering again causes the very last syllable of the utterance to be Low in tone.

Languages with simple tone systems or pitch accent may have one or two syllables specified for tone, with the rest of the word taking a default tone. Such languages differ in which tone is marked and which is the default. In Navajo, for example, syllables have a low tone by default, whereas marked syllables have high tone. In the related language Sekani, however, the default is high tone, and marked syllables have low tone.

Mbugwe is considered to be a seven-vowel language. It is a tonal language with two levels of tone identified - High and Low. Tone is distinctive lexically as well as grammatically.

Words in the Hakha Chin language are predominantly monosyllabic with some sesqui syllables featuring a "reduced syllable". Full syllables are either open or closed with a rising, falling, or low tone.

If a two-mora word has a low tone in Keihan dialects, it has a downstep on the first mora in Tokyo-type dialects. In Tokyo, whereas most non- compound native nouns have no accent, most verbs (including adjectives) do. Moreover, the accent is always on the penultimate mora, that is, the last mora of the verb stem, as in 'be white' and 'get up'. In Kansai, however, verbs have high- and low-tone paradigms as nouns do.

I did not misunderstand a word, although he spoke always in a low tone, and now and then his voice dropped as if from weariness, but he never wandered from his point...

Three tones are distinguished in Mbugu: high, low, and falling. Low tone is default (unmarked). High tone is represented with an acute accent <á>, while falling tone is represented with the sequence <áa>.

Ideophones are an "emotional-expressive" word class. Morphologically, ideophones are typically disyllabic and have a word-final coda. They also have an alternate form derived by total reduplication. Ideophones only carry low tone.

Abui orthography is based on Indonesian. Long vowels are spelled as double vowels. High tone is marked with an acute accent on the vowel, and low tone is marked with a grave one.

In some tonal languages such as Vietnamese, and Mandarin Chinese (when it is written in Hanyu Pinyin or Zhuyin Fuhao), the grave accent indicates a falling tone. The alternative to the grave accent in Mandarin is the numeral 4 after the syllable: pà = pa4. In African languages and in International Phonetic Alphabet, the grave accent often indicates a low tone: Nobiin jàkkàr ("fish-hook"), Yoruba àgbọ̀n ("chin"), Hausa màcè ("woman"). The grave accent represents the low tone in Kanien'kéha or Mohawk.

There are three processes that can create non- lexical high tone within a syllable nucleus. See the section below for an explanation of other phonological changes which may occur in the following examples. :1. H-deletion :VhCC → VHighCC :An /h/ before two consonants is deleted and the preceding vowel gains high tone: :/kiʃwɑhn-t-ʔuh/ → [kiʃwɑ́nːt'uh] "parched corn" :2. Low tone-deletion :VRVLowC → VHighRC :A low tone vowel following a resonant (sonorant consonant) is deleted, and the preceding vowel gains a high tone.

The dialects that have a Tokyo-type accent, like the standard Tokyo dialect described above, are distributed over Hokkaido, northern Tohoku, most of Kanto, most of Chūbu, Chūgoku and northeastern Kyushu. Most of these dialects have a more-or-less high tone in unaccented words (though first mora has low tone, and following morae have high tone); an accent takes the form of a downstep, after which the tone stays low. But some dialects, for example, dialects of northern Tohoku and eastern Tottori, typically have a more-or-less low tone in unaccented words; accented syllables have a high tone, with low tone on either side, rather like English stress accent. In any case, the downstep has phonological meaning and the syllable followed by downstep is said to be "accented".

Pech is a tonal language with 16 consonants and 10 vowels (Holt 1999). There are two tones, namely a high tone and a low tone. Both consonants and vowels display length contrast and nasalization.

PalmerPalmer (1959), p. 273 and HetzronHetzron (1969), p. 6 both identified three distinctive tone levels in Awngi: high, mid and low. The low tone, however, only appears in word-final position on the vowel .

A falling tone (high-mid) appears on word-final syllables only. JoswigJoswig (2009) reanalyzes the system as having only two distinctive tone levels, with the low tone being a phonetic variant of the mid tone.

In Bor proper, and perhaps in other dialects as well, Fall is only realized as such at the end of a prosodic phrase. Elsewhere it becomes High. In Bor proper and perhaps other dialects, a Low tone is only phonetically low after another low tone. Elsewhere it is falling, but not identical to Fall: It does not become High in the middle of a phrase, and speakers can distinguish the two falling tones despite the fact that they have the same range of pitch.

Sentence-finally it can become Chich _ěwà_ with a rising tone on the penultimate and a low tone on the final.Cf. Hyman, L.M. (2007) "Tone: Is it different?". UC Berkeley Phonology Lab Annual Report (2007), p. 500.

This orthography is represented in the Phonology section below. In the Roman orthography tone is marked using a superscript L at the start of the syllable to mark low tone (e.g. Lto 'stone') with high tone unmarked.

They may also occur on some words with low tone. Not all words with low tone are attested with breathy vowels, but the feature does not appear to be distinctive (there are no minimal pairs), and so Gerlach (2015) does not treat breathy vowels as phonemic. is a diphthong before final (that is, in words of the shape Com), but it carries only a single tone, and so is analyzed as an allophone of a single vowel. This diphthongization occurs in all three dialects, and also in Gǀui, which probably got it from ǂʼAmkoe.

Yucatec distinguishes short vowels and long vowels, indicated by single versus double letters (ii ee aa oo uu), and between high- and low-tone long vowels. High- tone vowels begin on a high pitch and fall in phrase-final position but rise elsewhere, sometimes without much vowel length. It is indicated in writing by an acute accent (íi ée áa óo úu). Low-tone vowels begin on a low pitch and are sustained in length; they are sometimes indicated in writing by a grave accent (ìi èe àa òo ùu).

Umbundu has two tones: low and high. The first acute accent (á) in a word represents a high tone. The low tone is represented by a grave accent (à). Unmarked syllables carry the same tone as the preceding syllable.

Falling tones fall from the level of high to mid pitch. For compound nouns or verbs with noun incorporation, the second element loses its word-initial prominence: high tone becomes mid or low tone and vowel length distinction is lost.

The underlying low tone of the noun then passes to the definite determiner clitic =hɔk, which lacks an underlying tone. The rising tone is alternatively realized as a level high tone if it is not possible for it to spread.

Hausa is a tonal language. Each of its five vowels may have low tone, high tone or falling tone. In standard written Hausa, tone is not marked. In recent linguistic and pedagogical materials, tone is marked by means of diacritics.

In Dâw there are either three or four tones, depending on analysis. There are a low tone, a high tone, a rising tone and a falling tone, marked by a grave accent, an acute accent, a caron and circumflex, respectively, but only the two latter are lexical. The low tone only occurs on syllables without stress, while the high tone only occurs on syllables with stress, and the rising and falling tones may occur on all syllables. As the low and high tones are not lexical, they are often left unmarked, as in "tooth", which really is realized as .

Rundi is a tonal language. There are two essential tones in Rundi : high and low (or H and L). Since Rundi has phonemic distinction on vowel length, when a long vowel changes from a low tone to a high tone it is marked as a rising tone. When a long vowel changes from a high tone to a low tone, it is marked as a falling tone.de Samie 2009 Rundi is often used in phonology to illustrate examples of Meeussen's ruleMyers 1987Phillipson 2003 In addition, it has been proposed that tones can shift by a metrical or rhythmic structure.

Kinyarwanda is a tonal language. Like many Bantu languages, it has a two-way contrast between high and low tones (low- tone syllables may be analyzed as toneless). The realization of tones in Kinyarwanda is influenced by a complex set of phonological rules.

Defaka has two tones, and . On long vowels and diphthongs, as well as disyllabic words, and contours occur. In addition, there is a downstep that may appear between high tones, and which is the remnant of an elided low tone. However, Shryock et al.

Proto-Bantu distinguished two tones, low and high. Each syllable had either a low or a high tone. A high tone is conventionally indicated with an acute accent (´), and a low tone is either indicated with a grave accent (`) or not marked at all.

Kohima dialect is reported to have five tones. Khonoma has four register tones: (with diacritics, ). The lower three are approximately equally spaced in pitch, while the topmost is more distant. Low tone may be accompanied by breathy voice, especially at the end of an utterance.

Most dialects of Tshangla do not make lexical distinctions according to tone, however, the language overall may be in the process of tonogenesis. Some dialects such as those of Central Monpa and Padma-bkod have replaced voiceless-voiced contrasts with a high-low tone distinction, respectively.

Two pitch levels, high and low, conventionally written H and L, are usually considered to be sufficient to describe the tones of Chichewa.Mchombo (2004), p. 11. In Chichewa itself the high tone is called ('tone of raising'), and the low tone ('tone of lowering').Mtanthauziramawu wa Chinyanja (c.

In Welsh, in most words the accent is realised as a low tone on the penultimate syllable (which is also stressed) followed by a high tone on the final; but in some dialects this LH contour may take place entirely within the penultimate syllable.Cooper, S.E. (2015). Bangor University PhD thesis.

Then, the standard IPA diacritics are used: bá ("to be a lot": high tone), bà ("to share": low tone), bâ ("to want" or "even": falling tone) and bǎ ("to be better": rising tone). However, the meaning is almost always unambiguous in the context so the words are usually all written ba.

In his early work he was addicted to a heavy, low tone, which he abandoned subsequently for clearer and more transparent colour. He achieved much success with his portraits and his Giorgionesque figure compositions, which are marked by a classic sense of style, and with his etchings and lithographic designs.

The architecture of the luxurious audience hall follows the late French rococo style. The unique acoustics of the horseshoe-designed hall allows performers to deliver even a whisper-low tone of voice from the stage to any part of the hall. The most recent renovation of the theater was completed in 2007.

Active sitting is also relevant for wheelchairs and adaptive seating. In the field of rehabilitation, active or dynamic sitting can reduce detrimental health issues, accommodate for high or low tone, and promote improved postural control and function.Sturgeon, J. (2010) Dynamic Seating Poised to Move Mobility Market Forward Mobility Management Retrieved 25 July 2011.

One of the oldest bands recorded in Pizza is the Banda de Tlayacapan of the state of Morelos that was founded approximately in 1870, being one of the first to play la danza del Chinelo. The traditional Zacatecan tamborazo band does not use tuba, being the tambora the instrument that takes the low tone.

"Can't Stop Dancin'" is written in the key of G minor and rides a moderate half-time groove of 100 beats per minute. While the melody follows the sequence Gm - E♭ - B♭ as its chord progression, Gomez's vocals span from the low tone of F3 to the high tone of B♭4.

When a child is born with Möbius syndrome, there may be difficulty in closing the mouth or swallowing. The tongue may fasciculate (quiver) or be hypotonic (low muscle tone). The tongue may be larger or smaller than average. There may be low tone of the muscles of the soft palate, pharynx, and the masticatory system.

In isolation these words are usually pronounced , , etc., ending with two tones of mid height. Alternatively, in some dialects, they may be pronounced , , with a rising tone on the penultimate and a low tone on the final. When the suffix 'that' (varying according to the noun class) is added, the tone becomes a normal penultimate tone, e.g.

Upper Tanana shows near mutual-intelligibility with neighboring Tanacross but differs in several phonological features. In particular, Upper Tanana has low tone as a reflex of Proto-Athabaskan constriction, where Tanacross has high tone. Upper Tanana also has an extra vowel phoneme and has developed diphthongs through loss of final consonants. Traditionally, five main dialects have been recognized.

This occurs most commonly in early monologues and is done in a low tone. It concerns using language to bring about action and occurs when playing with toys and dolls as “friends” with language embedded in ongoing play. Whilst like conversational speech, it can occur in long uninterrupted sequences in which the child describes what they are doing.

Constricted vowels are pronounced with low tone. The Tagish language includes nouns, verbs, and particles. Particles and nouns are single, sometimes compounded, morphemes, but the difference is that nouns can be inflected and particles cannot. Verbs are the most complex class in this language because their stemmed morphemes have many prefixes which indicate inflectional and derivational categories.

First made in 1710 by Samuel Watson, the five-minute repeater strikes the hours and then the number of five-minute periods since the hour. The mechanism uses a low tone for the hours and a high tone for the minutes. For example, 2:25 would be struck as: "dong, dong, ding, ding, ding, ding, ding".

According to the sheet music published in Musicnotes.com by Alfred Publishing Co. Inc., the song is set in the time signature of common time with a medium tempo of 116 beats per minute. The song is set in the key of C minor with Madonna's voice spanning from the low-tone of C4 to the high-tone of D5.

Yolmo is both the name of the language (glottonym), and the ethnic group of people who speak the language (ethnonym). Yolmo is also written Hyolmo, Yholmo or Yohlmo. The 'h' in all of these spellings marks that the word has low tone. Sometimes the language is referred to as Yolmo Tam, tam is the Yolmo word for 'language'.

Wangga originated near the South Alligator River. An extremely high note starts the song, accompanied by rhythmic percussion, followed by a sudden shift to a low tone. Wangga is typically performed by one or two singers with clapsticks and one didgeridoo player. The occasion is usually a circumcision ceremony or a ceremony to purify a dead person's belongings with smoke.

The Boro language has a total of 30 phonemes: 6 vowels, 16 consonants, and 8 diphthongs—with a strong prevalence of the high back unrounded vowel /ɯ/. The Boro language use tones to distinguish words. There are three different tones used in the language: high, medium and low. The difference between high and low tone is apparent and quite common.

The possible tones on a syllable with a voiceless consonant like hla are , and the possible tones of a breathy consonant syllable, like dla, are . A depressor has no effect on a syllable that's already low, but it blocks assimilation to a preceding high tone, so that the tone of the depressor syllable and any following low-tone syllables stays low.

" J.T. Dameron, a merchant, testified that he saw Ras Wheeler in a street car in the capital of Jackson on the 13th or 14 February. He said that Wheeler was talking in a low tone. He said; "Yes, old Hoar is coming down here on an investigation committee. If I get a crack at him I will kill him, too.

The Uspanteko (Uspanteco, Uspanteko, Uspantec) is a Mayan language of Guatemala, closely related to Kʼicheʼ. It is spoken in the Uspantán and Playa Grande Ixcán municipios, in the Department El Quiché. It is also one of only three Mayan languages to have developed contrastive tone (the others being Yukatek and one dialect of Tzotzil). It distinguishes between vowels with high tone and vowels with low tone.

Map of the major tonal dialects of Norwegian and Swedish, from . • Dark areas have a low tone in accent 2, and the light areas have a high tone in accent 2. • The isogloss marks the boundary between connective and non-connective dialects. East and north of it, all of the compounds get accent 2, whereas west and south of the isogloss, compounds vary in accent.

Tones distinguish one word from another; for example, in Akoose, "three" has a high tone, "four" has a low tone, and "five" has a falling tone. Tones also have a grammatical function in verbs; for example, in Akoose, the word for "he has thrown" is in a main clause, but , with a high tone, in some kinds of dependent clause.Hedinger (2016), Grammar.See Hedinger (1981), pp.

The apostrophe (', typewriter apostrophe) is used to demarcate syllables when there is ambiguity. A hyphen (-) is used to join two or more isolated words to make a new compound word with its own meaning. When a word contains a grave accent (`), all the syllables after this mark are accented in the low tone (low- falling for the long tones, and low-short for short tones).

Her music mainly deals with Tibetan themes but she is also influenced by Jazz, R-n-B, Rock-n-Roll and Latin music, which are all reflected in her work. She is able to shift quite easily from piercing high pitches to soft low tone. Her singing has distinctive Tibetan characteristics. She's able to shift freely from piercing high pitches to soft low tones.

Yabem shows elements of morphological fusion and agglutination but is not very high in either respect. The primary factor determinative of fusion/agglutination degree is lexical category. Verbs, for example, take subject prefixes, which fusionally mark person, number, inclusivity (for the first person plural), realis/irrealis, and high- and have low-tone variants. Nouns also display low levels of agglutination, sometimes taking possessive suffixes.

Fifteenth-century Middle Korean was a tonal or pitch accent language whose orthography distinguished between three tones: high, rising, and low. The rising tone is analyzed as a low tone followed by a high tone within a bimoraic syllable. Middle Chinese was also a tonal language, with four tones: level, rising, departing, and entering. The tones of fifteenth-century Sino-Korean partially correspond to Middle Chinese ones.

Map of the major tonal dialects of Norwegian and Swedish, from . • Dark areas have a low tone in accent 2, whereas the light areas have a high tone in accent 2. • The isogloss marks the boundary between connective and non-connective dialects. East and north of it, all of the compounds get accent 2, whereas west and south of the isogloss, compounds vary in accent.

I went > out to see who they were, and found Jackson and one of his staff. As I > approached them, he put his finger on his lips and shook his head as a > signal for silence. In a low tone he said he preferred it should not be > known he had come there. He approved of all I had done, and soon galloped > away.

Bambara does not inflect for gender. Gender for a noun can be specified by adding an adjective, -cɛ or -kɛ for male and -muso for female. The plural is formed by attaching a vocalic suffix -u, most often with a low tone (in the orthography, -w) to nouns or adjectives. Bambara uses postpositions in much the same manner as languages like English and French use prepositions.

There are two tones, high and low. Each stem contains a tone melody, and each tone melody must contain at least one high tone- that is, a word cannot be exclusively low tone. The tone melody of a word may be overridden by inflectional morphology or syntax. In some cases a word may HLH or LHL melody, as in the case of gɔːn˧˦˨ (griot with war tomtoms) or kaː˦˨nu˦ (monkey).

These multiple tones create a complex pitch profile. The low tone and deep resonance of the bell allow the sound to carry over great distances; a large bonshō can be heard up to away on a clear day. The pitch of the bell is carefully judged by its creators, and a difference of a single hertz in the fundamental frequency can require that the bell be recast from scratch.

The breathy consonant phonemes in Zulu are depressor consonants, or depressors for short. Depressor consonants have a lowering effect on pitch, adding a non-phonemic low-tone onset to the normal tone of the syllable. Thus, in syllables with depressor consonants, high tones are realised as rising, and falling tones as rising-then-falling. In both cases, the pitch does not reach as high as in non-depressed syllables.

These words have a high tone and contrastive vowel length in the second syllable, while the first syllable carries low tone. Jemez high tones are similar to those of Mandarin Chinese, except there's a characteristic slight rise at the end. Voiced consonants tend to lower the onset of pitch in high tones. If there are several high tones in a row, the pitch also tends to rise throughout.

In phonology, a register is a combination of tone and vowel phonation into a single phonological parameter. For example, among its vowels, Burmese combines modal voice with low tone, breathy voice with falling tone, creaky voice with high tone, and glottal closure with high tone. These four registers contrast with each other, but no other combination of phonation (modal, breath, creak, closed) and tone (high, low, falling) is found.

Composed as a dance-oriented song, the intro of "Like a Virgin" consists of two hooks. According to the sheet music published at Musicnotes.com by Alfred Publishing, the song is set in common time, with a moderately dance-groove tempo of 118 beats per minute. It is composed in the key of F major with Madonna's voice ranging from the tonal nodes of low-tone G3 to high-tone C5.

The quarter repeater strikes the number of hours, and then the number of quarter hours since the last hour. The mechanism uses 2 chimes of different tones. The low tone usually signals the hours, and the high tone the quarter hours. As an example, if the time is 2:45, the quarter repeater sounds 2 low tones and after a short pause 3 high ones: "dong, dong, ding, ding, ding".

Unlike Gyeongsang pitches, Hamgyŏng pitches are regular reflexes of fifteenth-century Middle Korean tones. The Middle Korean high and rising tones have become the Hamgyŏng high pitch, and the Middle Korean low tone has become the Hamgyŏng low pitch. Vowel length is not phonemic. The Hamgyŏng dialect has palatalized both Middle Korean , and , into , like the majority of Korean dialects, but unlike Seoul Korean, which has palatalized only the latter pair.

Hedyeh tends to be extremely violent, acting before thinking; while she normally talks in a husky, low tone, her voice becomes quickly high-pitched when she is sufficiently agitated or is thinking of violence. She is always at Ayse's side. ; : :The only male member of the academy's upper-ed class. He considers himself as the most beautiful man and as such proclaims that he should be admired by everybody.

Fridén in 2008 His look changed dramatically following the release of In Flames 2002 release Reroute to Remain. His previously clean-shaven look was replaced with a beard, and his long hair was put into dreadlocks. His vocal style has also changed, especially on the past three records. His low-tone, harsh death growl has evolved into a higher pitched scream, which is now supplemented by clean vocals and layers of backing vocals.

When one particular tone is marked in a language in contrast to unmarked syllables, it is usual for it to be a high tone. There are, however, a few languages in which the marked tone is a low tone, for example the Dogrib language of northwestern CanadaHyman, L. (2000), "Privative Tone in Bantu". and certain Bantu languages of the Congo such as Ciluba and Ruund.Nash, J.A. (1994), "Underlying Low Tones in Ruwund".

Safety features include vehicle stability control (VSC) and eight standard airbags with the options of a pre- collision system with dynamic radar cruise control at extra cost.Edmunds Inside Line, Lexus Highlights Safety Features on 2011 CT 200h in Wake of Recalls. There is also a Vehicle Proximity Notification System, which uses a low tone to alert pedestrians to the presence of a hybrid motor vehicle, as well as telematic services (Safety Connect in North America).

"Come & Get It" is an electropop, dance-pop and bhangra song that lasts for a total of three minutes and fifty-one seconds. The song is composed in the key of G minor and features a moderate tempo of 80 beats per minute. Gomez's vocal range spans from the low tone of F3 to the high note of D5. The song opens with a "Bollywood inspired" theme, before transitioning into a more dubstep influenced sound.

Sango has three basic tones (high, mid, and low), with contour tones also occurring, generally in French loanwords. Tones have a low functional load, but minimal pairs exist: dü 'give birth' versus dû 'hole'. Monosyllabic loan words from French usually have the tone pattern high-low falling (bâan 'bench' from French banc). In multisyllabic words all syllables carry low tone except the final syllable, which is lengthened and takes a descending tone.

"That's the Way Love Goes" samples James Brown's 1974 song "Papa Don't Take No Mess" and The Honey Drippers' 1973 song "Impeach the President". It is set in common time, in the key of G minor. Jackson's vocal chords range between the tonal nodes of high-tone F3 to low-tone Bb4. The song is in a medium tempo of 100 beats per minute with a repeating chord progression of EbMaj7-F6-Gm.

A person with low tone will most likely not be able to engage in "explosive" movement such as needed in a sprinter or high jumper. These athletes usually have high tone that is within normal limits. A person with high tone will usually not be flexible in activities such as dance and yoga. Joint laxity contributes greatly to flexibility, especially with flexibility in one or a few areas, instead of overall flexibility.

Alternatively, one (or both) of the vowels may have started out low-toned and become high-toned due to the application of some rule; or perhaps there was a low tone between the two high tones that got deleted at some point. Regardless, the OCP claims that there can not have been two consecutive high tones (nor two consecutive low tones, etc.) in the underlying representation of the morpheme, i.e. in the morpheme's lexical entry.

The recent Catholic edition has made the same alterations and substituted "Mother of God" for "Mother of Christ". In each edition the added Words of Institution follow the form of the rite of the edition. The prayers of the Mass, like those of the Orthodox Eastern Church, are generally long and diffuse. Frequently they end with a sort of doxology called Qanuna which is said aloud, the rest being recited in a low tone.

A revision of the script was completed in 1988, which remains in use. As with most other abugidas, the Pollard letters represent consonants, whereas vowels are indicated by diacritics. Uniquely, however, the position of this diacritic is varied to represent tone. For example, in Western Hmong, placing the vowel diacritic above the consonant letter indicates that the syllable has a high tone, whereas placing it at the bottom right indicates a low tone.

Keihan (Kyoto–Osaka)-type dialects of Kansai and Shikoku have nouns with both patterns: That is, they have tone differences in unaccented as well as accented words, and both downstep in some high-tone words and a high-tone accent in some low-tone words. In the neighboring areas of Tokyo-type and Keihan-type such as parts of Kyushu, northeastern Kanto, southern Tohoku, around Fukui, around Ōzu in Ehime and elsewhere, nouns are not accented at all.

Kuanana calls for Kallulik's help and hears the loon cry, revealing the direction his wife and daughter were taken. Kallulik and Siku set out with sled dogs and a telescope. While Ailla and her daughter resist their captors and rapists, and attempt to escape, Kupak and Aulla continue to hold them captive. Feeling a low tone in his ear, Kupak takes the ailment as a bad omen and orders Tulimaaq to see if they are being followed.

The song is composed in the key of C major and features a moderate tempo of 90 beats per minute. Gomez's vocal range spans from the low tone of G3 to the high note of G4. The song opens with a sample of Buju Banton 1995 song "Champion", before transitioning into a more dancehall influenced sound. Gomez said the song was inspired by the trips that she made to South America during the We Own the Night Tour.

"Again" was written and produced by Janet Jackson, Jimmy Jam & Terry Lewis. It is set in common time with a key of C major. Jackson's vocal chords ranges between the tonal nodes of low-tone G3 to high-tone D5. The song is in a moderate tempo of 64 beats per minute with the chord progression being set like C-G-Am-F-C-Dm7/G in the first verse and C-E-Am7-D9 in the chorus.

In Miyakonojō, Miyazaki (small black area on map), there is a single accent: all phonological words have a low tone until the final syllable, at which point the pitch rises. That is, every word has the pitch pattern of Kagoshima irogami. This is called an ikkei (one-pattern) accent. Phonologically, it is the same as the absence of an accent (white areas on map), and is sometimes counted as such, as there can be no contrast between words based on accent.

Japanese pitch accent also varies in how it interacts with syllables and morae. Kagoshima is a purely syllabic dialect, while Osaka is moraic. For example, the low-tone unaccented noun shimbun 'newspaper' is in Kagoshima, with the high tone spread across the entire final syllable bun, but in Osaka it is , with the high tone restricted to the final mora n. In Tokyo, accent placement is constrained by the syllable, though the downstep occurs between the morae of that syllable.

The nuclear vowels of nouns, verbs, and adjectives bear tone. Nukak has two tonemes (minimal pairs exist between them): high (H) and rising (LH). In the surface phonology there are also a low tone and a falling tone. The rising and falling tones are accompanied by lengthening of the vowel, however, the falling tone has been analyzed as actually being the allomorph of the high tone in closed syllables ending in or an occlusive consonant, except orin morpheme final open syllables.

The phonemic orthography employed for writing Otomi in this article is the one used by Lastra (1992 and 2005). It includes tones in order to be maximally informative, but many practical orthographies used by Otomi speakers do not include information about tone. The symbols used to write the tones in the examples are acute accent /´/ for high tone, and circumflex accent /^/ for ascending tone; low tone is left unmarked. The symbols used for the four nasal vowels are /į, ę, ą, ų/.

Cain's agent sent copies of the novella to all the major studios and within days, MGM, Warner Bros., Paramount, 20th Century-Fox, and Columbia were competing to buy the rights for $25,000. Then a letter went from Joseph Breen at the Hays Office, and the studios withdrew their bids at once. In it, Breen warned: > The general low tone and sordid flavor of this story makes it, in our > judgment, thoroughly unacceptable for screen presentation before mixed > audiences in the theater.

Language Log The literary tones of Beijing dialect tend to be more exaggerated than Standard Chinese. In Standard Chinese, the four tones are high flat, high rising, low dipping, and falling; in Beijing dialect, the first two tones are higher, the third one dips more prominently, and the fourth one falls more. However, toneless syllables are incredibly common in vernacular Beijing dialect and the third tone is realized as a low tone instead of a dipping tone, known as a "half third tone".

Additionally, positioning accessories may be restrictive in an effort to counteract low tone, to restrain involuntary spastic movement, or to optimize body symmetry. Unfortunately, such positioning effectively prevents development of active postural movement control. Since the spinal motion of these individuals is constrained between their secured pelvis and the backrest of the wheelchair or chair, their potential to acquire an improved ability for active postural repositioning is negligible. Their movement can be limited to that of the upper extremities only.

Caddo is a tone language. There are three tones in Caddo: low tone, which is unmarked '; high tone, which is marked by an acute accent over the vowel '; and falling tone, which is always long and marked by a grave accent over the vowel '. Tone occurs both lexically (as a property of the word), non-lexically (as a result of tonological processes), and also as a marker of certain morphological features. For instance, the past tense marker is associated with high tone.

Like other Sufi orders, Khufiyya is characterized by the veneration of saints, the search for enlightenment, and dhikr (quiet repetition of devotional phrases or prayers). The dhikr of Khufiyya followers are in a low tone or even silent, which references the meaning of the "Khufiyya", which means "the silent ones" in Arabic. In addition, Khufiyya was relatively conformist to the central government of China throughout different periods of history. The Khufiyya order rejects excessive practice of the abstinence from worldly desires.

It also contains some musical elements of dubstep, electro, and ambient music. Greg Kot from the Chicago Tribune called it a "post-modern" blues album, while Rolling Stone magazine's Will Hermes described it as "a steely blues record at heart — the sound of a damaged man staring in the mirror without self-pity but not without hope". City Pages critic Rick Mason deemed the music "hard-edged post-industrial blues". The album contains a sonically dark and gritty soundscape characterized by low-tone synths and spatial beats.

In this article, the orthography of Lastra (various, including 1996, 2006) is employed which marks syllabic tone. The low tone is unmarked (a), the high level tone is marked with the acute accent (á), and the rising tone with the caron (ǎ). Nasal vowels are marked with a rightward curving hook (ogonek) at the bottom of the vowel letter: į, ę, ą, ų. The letter c denotes , y denotes , the palatal sibilant is written with the letter š, and the palatal nasal is written ñ.

Among the unchecked syllables, tone 1 becomes 7, 7 becomes 3, 3 becomes 2, and 2 becomes 1. Tone 5 becomes 7 or 3, depending on dialect. Stopped syllables ending in Pe̍h-ōe-jī , , or take the opposite tone (phonetically, a high tone becomes low, and a low tone becomes high) whereas syllables ending in a glottal stop (written in Pe̍h-ōe-jī by ) drop their final consonant to become tone 2 or 3. The seven or eight tones of Hmong demonstrate several instances of tone sandhi.

In the orthography a letter n followed by a vowel or glottal indicates that the preceding vowel is contrastively nasalised, unless in word-final position when nasalisation is indicated by a double nn and a single n is a final consonant. The language is tonal, with tonal differences distinguishing lexical items (with few minimal pairs) and syntactic constructions. The intrinsic tones of individual words are often overridden with a different pattern in particular syntactic constructions, e.g. main verbs in positive main clauses become all-low-tone.

The first experiments exploring this form of sensory memory were precisely conducted by George Sperling (1963) using the "partial report paradigm." Subjects were presented with a grid of 12 letters, arranged into three rows of four. After a brief presentation, subjects were then played either a high, medium or low tone, cuing them which of the rows to report. Based on these partial report experiments, Sperling was able to show that the capacity of sensory memory was approximately 12 items, but that it degraded very quickly (within a few hundred milliseconds).

In western and southern Kyushu dialects (pink area on the map on the right), a high tone falls on a predictable syllable, depending only on whether the noun has an accent. This is termed a two-pattern (nikei) system, as there are two possibilities, accented and not accented. For instance, in the Kagoshima dialect unaccented nouns have a low tone until the final syllable, at which point the pitch rises. In accented nouns, however, the penultimate syllable of a phonological word has a high tone, which drops on the final syllable.

Koti, like most Bantu languages, is a register tone language with two tones: High and Low. Tone is not lexically distinctive for verbs, but it is very important in verbal inflection and in some other parts of grammar. Contour tones (falling and rising tones) do occur, but only on long vowels, therefore they are analysed as sequences of the H and L level tones. There is a process of High Doubling which spreads any H tone to the following tone bearing unit, and a process of Final Lowering which deletes any utterance-final High tone.

His performance provided sanity and calm amid the tension and chills of the action thriller. Although playing against type, his low tone and measured monotone dialogue was a good counter to the rapid and chaotic overlapping dialogue throughout the movie, giving brief pauses between each actor's lines as the tension in each scene increased. In 1951 played a soldier next to Audie Murphy in the classic film, Red Badge of Courage. In the 1953 film Shane, Dierkes portrays the callous Morgan Ryker with great effect, director George Stevens making good use of Dierkes' craggy features.

Hypotonic infants are late in lifting their heads while lying on their stomachs, rolling over, lifting themselves into a sitting position, remaining seated without falling over, balancing, crawling, and sometimes walking. Fine motor skills delays occur in grasping a toy or finger, transferring a small object from hand to hand, pointing out objects, following movement with the eyes, and self-feeding. Speech difficulties can result from hypotonia. Low-tone children learn to speak later than their peers, even if they appear to understand a large vocabulary, or can obey simple commands.

Mild or benign hypotonia is often diagnosed by physical and occupational therapists through a series of exercises designed to assess developmental progress, or observation of physical interactions. Since a hypotonic child has difficulty deciphering his spatial location, he may have some recognizable coping mechanisms, such as locking the knees while attempting to walk. A common sign of low-tone infants is a tendency to observe the physical activity of those around them for a long time before attempting to imitate, due to frustration over early failures. Developmental delay can indicate hypotonia.

Thus, in most of western and northern Norway (the so-called high-pitch dialects) accent 1 is falling, while accent 2 is rising in the first syllable and falling in the second syllable or somewhere around the syllable boundary. The pitch accents (as well as the peculiar phrase accent in the low-tone dialects) give the Norwegian language a "singing" quality that makes it easy to distinguish from other languages. Accent 1 generally occurs in words that were monosyllabic in Old Norse, and accent 2 in words that were polysyllabic.

For example, a person can be high tone with normal to poor flexibility in most areas, but be able to put the palms of the hands on the floor with straight knees due to hypermobile sacroiliac joints. It is important to assess several areas before deciding if a person has high, low or normal muscle tone. A fairly reliable assessment item is how the person feels when picked up. For example, small children with low tone can feel heavy while larger, high tone children feel light, which corresponds with the description of "dead weight".

123 At the same time, the play places a remarkable emphasis on language. Greene argues that Titivillus and the vices under his command reduce Mankind to the level of a dumb beast, lost and on the brink of damnation, by drawing him into their perverse, topsy-turvy distortions of language.Greene, p. 77 In his introduction to Furnivall's edition, Pollard writes that the "low tone" of the play is due to its nature as an economic venture, since the tone appealed to the largely uneducated common audiences for whom players performed.

Benign paroxysmal vertigo of childhood is an example of migraine-associated vertigo in which headache does not often occur. Basilar artery migraine (BAM) consists of two or more symptoms (vertigo, tinnitus, decreased hearing, ataxia, dysarthria, visual symptoms in both hemifields or both eyes, diplopia, bilateral paresthesias, paresis, decreased consciousness and/or loss of consciousness) followed by throbbing headache. Auditory symptoms are rare. However, a study showed a fluctuating low-tone sensorineural hearing loss in more than 50% of patients with BAM with a noticeable change in hearing just before the onset of a migraine headache.

The group's name has always been Jamā'atu Ahli is-Sunnah lid-Da'wati wal-Jihād (), meaning "Group of the People of Sunnah for Dawa and Jihad". It is also known as Wilayat Garb Ifrqiya, meaning "West African Province", since March 2015 after becoming part of the Islamic State. The name "Boko Haram" is usually translated as "Western education is forbidden". Haram is from the Arabic (ḥarām, "forbidden"); and the Hausa word boko (the first vowel is long, the second pronounced in a low tone), meaning "fake", which is used to refer to secular Western education.

The Lhasa dialect is usually described as having two tones: high and low. However, in monosyllabic words, each tone can occur with two distinct contours. The high tone can be pronounced with either a flat or a falling contour, and the low tone can be pronounced with either a flat or rising- falling contour, the latter being a tone that rises to a medium level before falling again. It is normally safe to distinguish only between the two tones because there are very few minimal pairs that differ only because of contour.

In the official orthography of the Twi language, the Ashanti versions of these names as spoken in Kumasi are as follows. The diacritics on á a̍ à represent high, mid, and low tone (tone does not need to be marked on every vowel), while the diacritic on a̩ is used for vowel harmony and can be ignored. (Diacritics are frequently dropped in any case.) Variants of the names are used in other languages, or may represent different transliteration schemes. The variants mostly consist of different affixes (in Ashanti, kwa- or ko- for men and a- plus -a or -wa for women).

" Anger was not a Clarke character trait. Toward the end of his life, Professor Clarke was described as "about five feet five inches in height, one hundred and ten pounds in weight, with pale blue eyes, little hair and most of that under his ears, chewing his finger nails and apparently absorbed in thought, though really most alert." His voice delivered in ". . . a low tone with a well-modulated and quite agreeable voice, using very well-chosen language, talking good sense, but with a mild undertone of gaiety, and you find him bright and entertaining and then you find him clever . . . .

If the capacity is high, it gives a low tone of sound and vice versa. The standard wot is composed of 13 pieces of wood and can make four notes following the Isan note scales, which are Sol, La, Do, and Re that can play main music or just a few strokes. The keys can also be adjusted by increasing the notes for the higher key patterns which are La, Do, Re, Mi, Fa, and Sol. The wot generally can create the voice keys up to 6 notes, which can be played for the bigger pattern.

As in many Nilotic languages, Datooga case is marked by tone. The absolutive case has the unpredictable tone of the citation form of the noun, but the nominative is marked by a characteristic tone that obliterates this lexical tone. The tone is high for words of three syllables or less; for words with four or more syllables, the ends of the word have high tone, with a low tone in the middle of the word. The nominative is used for subjects following the verb; the absolutive with the copula, with subjects in focus position before the verb and in all other situations.

For Bengali words, intonation or pitch of voice have minor significance, apart from a few cases such as distinguishing between identical vowels in a diphthong. However, in sentences intonation does play a significant role. In a simple declarative sentence, most words and/or phrases in Bengali carry a rising tone, with the exception of the last word in the sentence, which only carries a low tone. This intonational pattern creates a musical tone to the typical Bengali sentence, with low and high tones alternating until the final drop in pitch to mark the end of the sentence.

Legend has it that a Singer of All Songs will someday be born, who will know and use the songs of all the effects. During one of the nine days of Strengthening, in which the priestesses sing to maintain the Wall, it is breached by a strange traveler, called Darrow. Calwyn attempts to approach him; but when he sings in a low tone, Calwyn feels as though a hand is clutching her tunic and keeping her away. He is unable to maintain this and collapses because of an injury he had suffered, whereupon Calwyn brings Darrow back to the priestess' dwellings.

For example, four o'clock would be sounded as a high tone followed by a low tone, whereas the hour of eleven o'clock would be sounded by two low tones followed by a high tone. The purpose is to conserve the power of the striking train. For example, "VII" would be a total of three strikes instead of seven, and "XII" would be four strikes instead of twelve. Clocks using this type of striking usually represent four o'clock on the dial with an "IV" rather than the more common "IIII",British Horological Institute , Workshop on Roman Numeral Clock Faces, 1999FAQ: Roman IIII vs.

In 1833 Cobbett sought to provoke debate on currency policy by moving a resolution to remove Sir Robert Peel from the Privy Council. "A motion more frivolous, more absurd, and ...more disreputable to its author, was never made within the walls of either house of parliament." Fielden loyally seconded the motion (in a long speech, quite inaudible in the reporters’ gallery because of the low tone in which he spoke and constant interruption). Cobbett and Fielden were tellers for the motion: only four other MPs voted for it: nearly 300 MPs voted against, then further voted to expunge it.

The American orthography, so called because of its use in Southeast Alaska in contrast to the system used in Canada, is the current incarnation of the Naish-Story system, which underwent some sporadic modification during the two decades following its introduction. It continues to represent the uvular consonants with the underscore diacritic, but drops the grave accent in favor of unmarked low tone. (The grave accent can still be used to discriminate tonal emphasis as well as the additional tones of Southern Tlingit.) It retains the single graphs for short vowels and English-based digraphs for long vowels.

A DTMF selective signaling PMRS system uses a code sequence of discrete audible tones, representing numbers, transmitted at the beginning of each voice message to address the transmission to a specific station or group of stations. The DTMF (dual tone multifrequency) code is used, which is also universally used for touch-tone dialing in the worldwide public telephone network. The eight audio frequencies used in DTMF are 697, 770, 852, 941 Hz which are called the "low tones" and 1,209; 1,336; 1,477; and 1,633 Hz which are the "high tones". Pairs of one high and one low tone transmitted together represent a decimal number.

As in many languages, however, the pitches at the beginnings of Navajo vowels are lower after voiced consonants than after tenuis and aspirated consonants. After ejective consonants, only high tones are lowered, so that the distinction between high and low tone is reduced. However, the type of consonant has little effect on the pitch in the middle of the vowel, so that vowels have characteristic rising pitches after voiced consonants. The pitch of a vowel is also affected by the tone of the previous syllable: in most cases, this has as great an effect on the pitch of a syllable as its own tone.

While performing, Ruiz was a tenor, and his voice was described as decidedly juvenile sounding despite his physical age, something that he employed to execute a style that was regarded as "dazzling" and "passionate". However, he was protective of his voice, usually speaking in a low tone, and performing exercises to help him perform, leading to a dichotomy between his singing and conversation tones which surprised new acquaintances. His tracks have been described as reminiscent of a hybrid between popular music and modern salsa, with the percussion being prominently featured. The narrative was heavily focused in the daily life of Latinos, from their hardships to their traditions.

Geidi Primes received positive reviews from music critics. Pitchforks Lindsay Zoladz noted the album has an "eccentric, dreamy sound, which draws upon everything from dubstep to disco, Eastern music to 1990s R&B;", adding, "Despite its modest production values and relative simplicity, it's a cohesive, enchanting, and surprisingly assured debut." Zoladz goes on to opine that "perhaps Geidi Primes’s greatest virtue is its resourcefulness", stating that it "excels at crafting evocative moods from deceivingly simple sonic materials and song structures". Of Grimes as a vocalist, Zoladz found that she can "work her range", from her "impressive falsetto" to a "spooky low tone" and her "tuneful deadpan" mid- range.

The high and low falling tones form a natural class, triggering for example a high tone on the suffix -si, whereas the other four root tones trigger a low tone on -si. That is, there are two tones or CV and V roots; two tones on bimoraic roots with breathy vowels, one of them falling; and four tones on bimoraic roots with other vowels, one of them falling. Thus there are four phonemic tones on CVCV, CVV, and CVN roots, the number expected if there are two possible tones on each mora, with moraic N carrying tone, though their contours are not simple juxtapositions of high/low + high/low.

General Motors' first commercially available plug-in hybrid electric vehicle, the Chevrolet Volt, introduced in December 2010, includes warning sounds for pedestrians. GM's system is called Pedestrian-Friendly Alert System and it is manually activated by the driver, but future generations will probably include an active system. The automaker conducted a test with a group of the visually challenged at Milford Proving Grounds in order to evaluate the audible warning systems on the Volt when a pedestrian is in the car's proximity. The system uses the car's horn to emit a series of warning chirps, like a low tone of a horn, enough to provide an alert but not to startle.

In many languages, however, ideophones go far beyond onomatopoeia in imitating many things beyond sound. For instance, in Gbaya, kpuk 'a rap on the door' may be onomatopoeic, but other ideophones depict motion and visual scenes: loɓoto-loɓoto 'large animals plodding through mud', kiláŋ-kiláŋ 'in a zigzagging motion', pɛɗɛŋ-pɛɗɛŋ 'razor sharp'. Ideophones are often characterized as iconic or sound-symbolic words, meaning that there can be a resemblance between their form and their meaning. For instance, in West-African languages, voiced consonants and low tone in ideophones are often connected to large and heavy meanings, whereas voiceless consonants and high tones tend to relate to small and light things.

These tones added to toneless words are called 'phrasal tones'. The tone-raising rule also applies to the toneless syllables at the end of words like eddwâliro [eddwáalíró] 'hospital' and túgenda [túgeendá] 'we are going', provided that there is at least one low-toned mora after the lexical tone. When this happens, the high tones which follow the low tone are slightly lower than the one which precedes it. However, there are certain contexts, such as when a toneless word is used as the subject of a sentence or before a numeral, when this tone-raising rule does not apply: Masindi kibúga 'Masindi is a city'; ebitabo kkúmi 'ten books'.

Auditory illusory conjunctions occur either when two sounds are presented in different positions in space, but a single sound is heard, or when two different sounds are presented in different positions in space, but some of them are heard in the wrong spatial location. In the octave illusion, the listener is presented via earphones with a 20-second sequence consisting of two alternating tones that are an octave apart, and are repeatedly presented in alternation. The tones are 250 ms in duration. The same sequence is presented to the two ears, but when the right ear receives the high tone the left ear receives the low tone, and vice versa.

The 'ava server, tautu'ava, serves the cup to the person called, then steps back a respectful distance to wait until the person served has partaken of the beverage. On the 'ava cup being presented to a chief he takes it in his right hand and after a moment's pause, he spills a few drops onto the floor of the house on his right side at the same time speaking a few words in a low tone. Today these words have some Christian significance but in olden times were no doubt a form of prayer to one of the numerous gods. He then raises the cup and says Ia manuia which means be happy or prosperous.

Zulu has tonic assimilation: high tones tend to spread allophonically to following low-tone syllables, raising their pitch to a level just below that of adjacent high-tone syllables. A toneless syllable between a high-tone syllable and another tonic syllable assimilates to that high tone. That is, if the preceding syllable ends on a high tone and the following syllable begins with a high tone (because it is high or falling), the intermediate toneless syllable has its pitch raised as well. When the preceding syllable is high but the following is toneless, the medial toneless syllable adopts a high-tone onset from the preceding syllable, resulting in a falling tone contour.

Moore was a receptionist at WABB in 1958, a position under the Mobile Register-owned station that would lead to speaking before a wide radio audience with her low tone voice, earning the liking of one WABB announcer. Radio and TV commercials, including a televised March of Dimes public service announcement featuring Moore as a donor would earn her something more than a year after working for WABB and WKAB radio, the daily half-hour program "Channel 10 Kitchen" on WALA-TV after the previous chef had to leave for health reasons. Dot, however, was not a cook. WALA's solution was to find a professional chef and let Moore assist before the viewers.

Consonants remain the same as in the existing Devanagari tradition, with the use of joined digraphs to represent additional sounds in the language, such as the combination of क (k) and य (y) for the palatal stop क्य ([c] 'kh'), स (s) and य (y) for the palatal fricative स्य ([ʃ] 'sh'), र and ह for the voiceless liquid र्ह ([r̥] 'rh'), and ल and ह for the voiceless lateral ल्ह ([l̥] 'lh'). Vowel length is not distinguished. Tone is distinguished using an additional diacritic after the vowel, so tó 'rice' (high tone) is तो while tò 'stone' (low tone) is तोः. The Syuba-Nepali-English dictionary also uses a Roman orthography.

The minute repeater works like the quarter repeater, with the addition that, after the hours and quarter hours are sounded, the number of minutes since the last quarter hour are sounded. This requires three different sounds to distinguish hours, quarters, and minutes. Often the hours are signaled by a low tone, the quarters are signaled by a sequence of two tones ("ding-dong"), and the minutes by a high tone. For example, if the time is 2:49 then the minute repeater will sound 2 low tones representing 2 hours, 3 sequence tones representing 45 minutes, and 4 high tones representing 4 minutes: "dong, dong, ding-dong, ding-dong, ding-dong, ding, ding, ding, ding".

In most eastern low-tone dialects, accent 1 uses a low flat pitch in the first syllable, while accent 2 uses a high, sharply falling pitch in the first syllable and a low pitch in the beginning of the second syllable. In both accents, these pitch movements are followed by a rise of intonational nature (phrase accent)—the size (and presence) of which signals emphasis or focus, and corresponds in function to the normal accent in languages that lack lexical tone, such as English. That rise culminates in the final syllable of an accentual phrase, while the utterance-final fall common in most languages is either very small or absent. There are significant variations in pitch accent between dialects.

The language is also sometimes known as Pahari, although it bears a closer resemblance to the Hindko of neighbouring Kaghan Valley than to the Pahari spoken in the Murree Hills.. The variant Parimi as well as the local use of the terms Pahari and Hindko are from . Unlike other varieties of Hindko, Pahari or Punjabi, it has preserved the voiced aspirated consonants at the start of the word: for example, gha 'grass' vs. Punjabi kà, where the aspiration and voicing have been lost giving rise to a low tone on the following vowel. This sound change however, is currently spreading here as well, but it has so far only affected the villages situated along the Neelam highway.

The show received positive reviews from critics. Andrew Miller of The Pitch stated "[the concert] at Sandstone proved that many [of Spears's] criticisms are off- base observations from people who have never actually attended one of these stars' shows. The music came from a talented band, not a DAT, and the bass lines to such songs as "... Baby One More Time" and "The Beat Goes On" rose to a funky growl in the live setting. For another, Spears' vocals were the real thing, as she sang in an alluringly low tone [...] but capably hit the high notes [...], however, she left the upper-octave duties to her background singers [...] during Spears' most strenuous dance routines".

That is, in some accents or languages a falling tone might fall at the end and in others it might fall at the beginning, but that such differences would not be distinctive. However, in Dinka it is reported that the phonemic falling tone falls late (impressionistically high level + fall, ) while the falling allophone of the low tone starts early (impressionistically fall + low level, ). Lexical tones more complex than dipping (falling–rising) or peaking (rising–falling) are quite rare, perhaps nonexistent, though prosody may produce such effects. The Old Xiang dialect of Qiyang is reported to have two "double contour" lexical tones, high and low fall–rise–fall, or perhaps high falling – low falling and low falling – high falling: and (4232 and 2142).

Following an earlier suggestion by Ito and Mester, analyzes stød as a surface manifestation of an underlying High-Low tone pattern across two syllables. Riad traces the history of stød to a tonal system similar to that found in the contemporary Swedish dialects of Mälardalen, particularly that of Eskilstuna. The argument is based both on the phonetic similarity between the stød, characterized by a sharp drop in the F0 formant, and the same phenomenon found in some tonal systems, and also on the historical fact that tonal accents are considered to have historically existed prior to the stød system. A 2013 study by Grønnum, Vazquez-Larruscaín and Basbøll however found that the tonal hypothesis was unable to successfully account for the distribution of stød.

Chinese syllables with level tone have low tone in Middle Korean; those with rising or departing tones, rising tone; and those with entering tone, high tone. These correspondences suggest that Old Korean had some form of suprasegmentals consistent with those of Middle Chinese, perhaps a tonal system similar to that of Middle Korean. Phonetic glosses in Silla Buddhist texts show that as early as the eighth century, Sino-Korean involved three tonal categories and failed to distinguish rising and departing tones. On the other hand, linguists such as Lee Ki-Moon and S. Roberts Ramsey argue that Old Korean originally had a simpler prosody than Middle Korean, and that influence from Chinese tones was among the reasons for Korean tonogenesis.

"Woman's World" is a midtempo, "thumping" "empowerment jam" which falls under the dance-pop, EDM, electropop, and electro genres. The song lyrically and sonically matches her previous hits, "Believe" and "Strong Enough". Bass drums serve as the song's prologue, preparing a trance-like atmosphere, where Cher sings in a soft, low tone of voice: "I'm dancin' solo, in the dark on the club floor/ I need to let it go, shake it off, stop thinkin' 'bout you'," before emerging with a powerful vocal delivery with the words: "Torn up, busted, taken apart/ I've been broken down, left with a broken heart/ But I'm stronger, strong enough to rise above." In the refrain, Cher belts "tell the truth / this is a woman's world" in her contralto.

Mandarin Chinese has four tones (), namely the first tone (flat or high level tone, 阴平, denoted by " ¯ " in Pinyin), the second tone (rising or high-rising tone, 阳平, denoted by " ˊ " in Pinyin), the third tone (falling- rising or low tone, 上声, denoted by " ˇ " in Pinyin), and the fourth tone (falling or high-falling tone, 去声, denoted by " ˋ " in Pinyin). There is also a fifth tone called neutral (轻声, denoted as no-mark in Pinyin) although the official name of the tones is Four Tones. Many other Chinese dialects have more, for example, Cantonese has six (often numbered as nine, but three are duplicates). In most Western languages, tones are only used to express emphasis or emotion, not to distinguish meanings as in Chinese.

He copied the inventory of the Arabic script, so the system was not ideal for Zaghawa. In 2000, a Zaghawa veterinarian named Siddick Adam Issa adapted Tajir's script to a form which has proven popular in the Zaghawa community. The typography is somewhat innovative in that capital letters have descenders which drop below the baseline of the lower-case letters and punctuation, contrasting with the capital letters which rise above most lower- case letters in the Latin alphabet. Beria Giray Erfe is a full alphabet, with independent letters for vowels; however, diacritics are used to mark tone (grave accent for falling tone and acute accent for rising tone; high, mid, and low tone are unmarked), as well as advanced tongue root vowels (a macron derives from the letters for ).

Davul and davul player The standard instruments employed by a mehterân are the kös (a giant timpani), the nakare (a small kettledrum), the davul (a bass drum), the zil (cymbals), the kaba zurna (a bass variety of the zurna), the boru (a kind of trumpet), and the cevgen (a kind of stick bearing small concealed bells). Documents from ancient times to the present indicate that yurağ (zurna), sıbızgı (sipsili nefir, the horn), the horn of Hun (şahnay), burguv (the horn), kuğruv (kös), tümrük (davul) and ve çeng (the cymbals) were the instruments in the tuğ band of the Turks in central Asia. There were two types of zurna used by the Ottomans. One of them was called the kabazurna having a low tone was played in the mehterhanes of the Ottomans and Kırım.

Worked on masonite in acrylic, they are precisely painted and are characterized by their low tone and mute palette. In a 2012 Art in America review by Nancy Princenthal, she describes the draftsmanship in Ramberg's 1970 Corset/Urn series this way: "inky black with spiky pink highlights, they are prim and sexily sinister... deft, dark and reticent." In the 1970s, Ramberg's work evolved from its strict focus on the female form to less sexualized, even non-human forms such as urn forms, chair backs, and geometries "eliding the boundaries between figuration and abstraction, human and object." Her human forms turned from figures seen from the back or in profile to fully frontal torsos that are more rigid and robotic, and have both male and female characteristics which gives her art a sense of androgyny and uncertainty.

That is, a stressed syllable in Tokyo dialect, as in kai 'shell' or san 'divining rod', will always have the pattern , never .Although in other words with the moraic pattern of kai and san the second mora may have a high tone and the first a low tone, this is just the rise in pitch, in an unaccented word or before a downstep, spread across the syllable, and does not depend on whether that syllable consists of one mora or two. Unaccented ha 'leaf', for example, has a rising tone in Tokyo dialect, whereas accented ne 'root' has a falling tone; likewise unaccented kai 'buying' and san 'three' have a rising tone, wherease accented kai 'shell' and san 'divining rod' can only have a falling tone. In Osaka, however, either pattern may occur: tombi 'black kite' is in Tokyo but in Osaka.

This priory, erected on the site of the old hermitage and dedicated to the honour of St. Margaret, was assigned to canons regular of the order of St. Augustine. Pope Alexander in 1182 granted to the newly founded house entire exemption from tithes, and further ordered by his apostolic authority both the bishop of Salisbury and the archdeacon of Berkshire and their officials not to impose any new charges of any kind on the priory. In this bull of papal protection the house is described as the priory of St. Margaret of 'Elenfordesmer.' Pope Alexander IV granted two bulls to this house in September 1256. By the first of these, dated 22 September, the privilege was conferred of celebrating the divine offices in a low tone (voce supressa), and with closed doors and without ringing of bells, during interdicts.

Until recently most attempted classifications only considered languages that happen to fall within traditional Narrow Bantu, but there seems to be a continuum with the related languages of South Bantoid. At a broader level, the family is commonly split in two depending on the reflexes of proto-Bantu tone patterns: Many Bantuists group together parts of zones A through D (the extent depending on the author) as Northwest Bantu or Forest Bantu, and the remainder as Central Bantu or Savanna Bantu. The two groups have been described as having mirror-image tone systems: where Northwest Bantu has a high tone in a cognate, Central Bantu languages generally have a low tone, and vice versa. Northwest Bantu is more divergent internally than Central Bantu, and perhaps less conservative due to contact with non-Bantu Niger–Congo languages; Central Bantu is likely the innovative line cladistically.

A sequence of tonal targets such as: ::[M T L H L H D B] assuming values for a female speaker of key as 240 Hz and range as 1 octave, would be converted to the following F0 targets: ::[240 340 240 286 220 273 242 170] An interesting consequence of this model is that it automatically introduces an asymptotic lowering of sequences such as H L H... such as has often been described both for languages with lexical tone and for languages where tone is only introduced by the intonation system, without the need to introduce a specific downdrift or declination component. The particular values used for calculating the value of D and U were chosen so that in a sequence [T D] for example, the D tone is lowered by the same amount as the H tone in the sequence [T L H]. In many phonological accounts, Downstepped tones are analysed as a High tone which is lowered by the presence of a "floating" low tone, so that the surface tone [D] can be considered as underlyingly [L H].

First, Heywood pleaded his "extreme youth and inexperience" as the cause of his failure to join Bligh and the loyalists in the open boat, insisting that "...I was influenced in my Conduct by the Example of my Messmates, Mr. Hallet and Mr. Hayward ... the latter, tho' he had been many years at Sea, yet, when Christian ordered him into the Boat he was ... so much overcome by the harsh Command, that he actually shed tears." Heywood then cited a different reason for staying aboard Bounty: Bligh's launch was overloaded, and its destruction would be assured "by the least addition to their Number". Finally, Heywood maintained he had intended to join Bligh but had been stopped: "...on hearing it suggested that I should be deem'd Guilty if I staid in the Ship, I went down directly, and in passing Mr. Cole told him in a low tone of voice that I would fetch a few necessaries in a Bag and follow him into the Boat, which at that time I meant to do but was afterwards prevented." Under further questioning, Cole confirmed his belief that Heywood had been detained against his will.