ic ▁aspects ▁overlap , ▁it ▁seems ▁like ▁the ▁sound ▁color , ▁relatively ▁dark , ▁" cover ed ", ▁pure , ▁rounded ▁and ▁consistent ▁as ▁the ▁same ▁time , ▁is ▁part ▁of ▁it . ▁It ▁possibly ▁includes ▁as ▁well ▁a ▁stro ger ▁level ▁of ▁ad du ction ▁and ▁support ▁than ▁the ▁typical ▁fal set to . ▁It ▁is ▁object ▁of ▁discussion ▁whether ▁to ▁apply ▁this ▁definition ▁to ▁any ▁sound ▁even ▁the ▁ones ▁most ▁similar ▁to ▁the ▁modal ▁sound ▁possibly ▁made ▁in ▁M 2 , ▁especially ▁in ▁the ▁higher ▁section ▁of ▁the ▁voice . ▁" Re in for ced ▁fal set to " ▁is ▁also ▁used ▁inter change ably , ▁but ▁more ▁frequently , ▁to ▁describe ▁strateg ies ▁which ▁intend ▁to ▁en rich ▁and ▁sw ell ▁em issions ▁which ▁might ▁be ▁M 2 ▁or ▁" fal set to " ▁in ▁nature . ▁ ▁Notes ▁ ▁S ources ▁ ▁Rod ol fo ▁C ellett i , ▁A ▁History ▁of ▁Bel ▁C anto , ▁Oxford ▁University ▁Press , ▁ 1 9 9 6 , ▁ ▁( quot ations ▁from ▁the ▁Italian ▁edition : ▁Storia ▁del ▁bel c anto , ▁Disc anto ▁Ed izioni , ▁F ies ole , ▁ 1 9 8 3 ) ▁ ▁Salv atore ▁Car us elli ▁( ed ), ▁Grande ▁enc iclopedia ▁della ▁musica ▁l ir ica , ▁Long an esi ▁& C . ▁Period ici ▁S . p . A ., ▁Rome , ▁vol ▁ 4 ▁▁ ▁John ▁Pot ter , ▁Ten or , ▁History ▁of ▁a ▁voice , ▁Y ale ▁University