तालव्य इसके अंग्रेजी अर्थ का उदाहरण

/s, ts, n, k/ are palatalized to [ʃ, tʃ, ɲ, c] before /i, y/, while /t, d, l/ become [tʲ, dʲ, lʲ].

The third is a palatal click used exclusively by women having a meaning close to that of the English word 'alas'.

sz should not be confused with ś (or s followed by i), termed "soft sh", a voiceless alveolo-palatal fricative .

However, the two laminal series are in complementary distribution, with postalveolar laminal (sometimes described as alveolo-palatal) occurring before the front vowel , and denti-alveolar laminal occurring before the non-front vowels, .

Most of the East Greek dialects palatalized or assibilated to before .

Due to its long buccal root with narrow root canal and short palatal root with wide root canal, the upper 1st premolar is very prone to fracture during exodontia, hence, it is sometimes referred to some dentists as the "King of Fracture".

The second is a trill, and the third more post-alveolar than palatal.

Palatalization of velar consonants: were palatalized to in certain complex circumstances.

In the same way, the alveolars /s/, /z/ and /n/ are palatalized to [ʃ], [ʒ] and [ɲ], respectively, before [i].

The mid-palatal suture is first cut open into two parts.

There may also be a fifth smaller cusp on the palatal side known as the Cusp of Carabelli.

after the (alveolo-)palatal consonants .

The sounds and are palatalized to and when they are at the end of syllables.

तालव्य हिंदी उपयोग और उदाहरण

दन्त्यौष्ठ्य संघर्षी व्यंजन स्वनिम, /ज़/ जो कि दंत्य ध्वनि /स/ का ही सघोष रूप है और /झ़/ , /श़/ तालव्य संघर्षी /श/ का सघोष रूप है।

| align'left' | कंठतालव्य।

""स्वर और व्यंजन में तर्कसंगत एवं वैज्ञानिक क्रम-विन्यास - देवनागरी के वर्णों का क्रमविन्यास उनके उच्चारण के स्थान (ओष्ठ्य, दन्त्य, तालव्य, मूर्धन्य आदि) को ध्यान में रखते हुए बनाया गया है।

| श़ (/ ʒ /)|| टेलिविश़न || घोष तालव्य संघर्षी || Voiced palatal fricative || ज (/ dʒ /)।

यदि यह 'ट्, ठ्, ड्, ढ्' ध्वनियों से पहले न आए तो इसका उच्चारण आजकल हिंदी में तालव्य (श) होता है।

! || द्वयोष्ठ्य (Bilabial) || दन्त्यौष्ठ्य (Labio-dental) || दन्त्य (Dental) || वर्त्स्य (Alveolar) || पश्वर्त्स्य (Post-alveolar) || मूर्धन्य (Retroflex) || तालव्य (Palatal) || कण्ठ्य (Velar) || अलिजिह्वीय (Uvular) || उपालिजिह्वीय (Pharyngeal) || कण्ठच्छदीय (Epiglottal) || काकलीय (Glottal)।

"" यदि यह 'ट्, ठ्, ड्, ढ्' ध्वनियों से पहले न आए तो इसका उच्चारण आजकल हिंदी में तालव्य (श) होता है।

यदि ओष्ठक क्षरण जंभिका पर स्थित दांतों की ओष्ठक सतहों पर पाया गया हो, तो इसका वर्णन तालव्य के रूप में किया जा सकता है क्योंकि ये दांत सख्त तालू के बगल में स्थित होते हैं।

""पारंपरिक क्रम इस प्रकार है: स्वर, कंठस्थ व्यंजन, तालव्य व्यंजन, मूर्धन्य व्यंजन, दंत्य व्यंजन, ओष्ठ्य व्यंजन, अन्तस्थ व्यंजन, ऊष्म व्यंजन, व अन्य व्यंजन।

स्वर और व्यंजन में तर्कसंगत एवं वैज्ञानिक क्रम-विन्यास - देवनागरी के वर्णों का क्रमविन्यास उनके उच्चारण के स्थान (ओष्ठ्य, दन्त्य, तालव्य, मूर्धन्य आदि) को ध्यान में रखते हुए बनाया गया है।

घोष तालव्य-वर्त्स्य संघर्षी ।

च, छ और ज़ दन्ततालव्य हैं और छ़ ज़ का महाप्राण हैं।

| align'left' | तालव्य।

तालव्य इसके अंग्रेजी अर्थ का उदाहरण

The Wave exposes large-scale sets of cross-bedded eolian sandstone composed of rhythmic and cyclic alternating grainflow and windripple laminae.

The rhythmic and cyclic alternating laminae represent periodic changes in the prevailing winds during the Jurassic period as large sand dunes migrated across a sandy desert.

The thin ridges and ribbing seen within the Wave are the result of the differential erosion of rhythmic and cyclic alternating grainflow and windripple laminae within the Navajo Sandstone.

During the late 20th century, Paco de Lucía, together with percussionist Rubem Dantas, incorporated Afro-Peruvian musical elements such as the cajón (wooden box) and certain rhythms.

The rhythm is a modified tresillo rhythm with eight beats grouped into a repeating pattern of 3+3+2.

Paulo Santos - (rhythm guitar, percussion).

He supposedly added the fifth string because he was "allegedly unhappy with the limited rhythm and melodic variation of the four-string banjos popularly in use.

His creatively simple, sparsely embellished, rhythmic use of Fender Esquire, Jazzmaster and Jaguar guitars is credited for creating Cash's signature "boom-chicka-boom" style.

He grew up in Como, and taught himself to play rhythm guitar.

Since he could not control the volume of the single-pickup instrument, Perkins began the practice of muting the three bass strings (E, A and D) with the heel of his right hand, much in the style of Merle Travis, and scratching a rhythm pattern (as heard on Sun Records recordings prior to 1958).

She also argues that when translating Ponge's work, it is sometimes best to incorporate things like rhythm, sound, and puns rather than purely literal translations of the original.