OpenLLM-France/wikimedia huggingface dataset:
# The Lyrics of Henry VIII/Benedictus (Isaac, Incipit)

[ff. 3$^v$-4$^r$]
Benedictus

## Textual Commentary

This piece appears as an unattributed incipit in H, with all but the initial capital entered in what appears to be a later hand. A full block initial capital is given for each of the three voices, though little room is left for text among the musical notation. The complete incipit is entered into the manuscript’s table of contents as the first work.
As noted by Atlas (1.126), this piece serves as the Benedictus in the Sanctus of Isaac’s Missa Quant J’ai au Cueur, though it was originally thought to be an independent piece and is listed as such in Odhecaton (ed. Hewitt, #76). It was extracted by those in the circle of Lorenzo de Medici and circulated separately thereafter. There are in excess of thirty witnesses to this piece. Many of the witnesses treat the text in a manner very close to its handling in H—without full text. That which appears in H is representative of the transmission of the full setting and its extraction, in a sub-tradition that is extant in a total of sixteen texts, including H, Fl107 (f. 20$^v$), Fl229 (ff. 9$^v$–10$^r$), Heil (#9), M2268 (ff. 150$^v$–151$^r$), P676 (ff. 77$^v$–78$^r$), PBFm (#30), PBIsa (B1$^v$, F1$^v$, G4$^v$), PBOdh (ff. 82$^v$–83$^r$), PBP504 (3, #46), R940/41 (#190), RG27 (ff. 50$^v$–51$^r$), RS35 (ff. 34$^v$–35$^r$), T27 (f. 35$^r$), WWlf (ff. 88$^v$–89$^r$), and Zw78 (3, #9). The remaining witnesses include B22 (#17), B32 (f. 43$^v$), B40021 (ff. 110$^v$–111$^r$), BQ18 (ff. 63$^v$–64$^r$), FlP27 (ff. 17$^v$–18$^r$), J31 (full Missa, ff. 36$^v$–50$^r$), PBN36 (#49), PBS07 (I #2), PT1 (#14, #109), SAM (full Missa, ff. 45$^v$–54$^r$), SG462 (ff. 7$^v$–8$^r$), U237 (ff. 22$^r$, ff. 20$^r$–20$^v$, ff. 21$^r$–21$^v$), Up76e (#3), V757 (ff. 29$^v$–30$^r$), V11883 (full Missa, ff. 42$^v$–51$^r$), and W2016 (ff. 55$^v$–56$^r$). Of these two groups, full texts of the lyric are extant in B40021, RS35, M2268, and W2016; fragmentary texts, or incipits, are extant in BQ18, Fl107, Heil, PBIsa, PBOdh, PBP504, P676, FlP27, R940/41, RG27, SG462, T27, U237, and Wwlf. The music also circulated with an alternate text, “Seigneur Leon vous soyés bien venus,” in FlR2356 (ff. 68$^v$–69$^r$) and P15123 (ff. 27$^v$–28$^r$), among others.
The full text below is transcribed according to Lerner (ed., Isaac 7.74–6):
Benedictus
qui venit
qui venit venit in nomine Domini.
“Benedictus” is reprinted in Fano (ed., Isaac 5.66–67), Geering (18–20), Hewitt (ed., Odhecaton 379–80), Lerner (ed., Isaac 7.74–76), Plamenac (“Autor d’Ockeghem” 44–45), Stevens MCH8 (1), and Wolf (ed., Isaac 112), among others.

## Textual Notes
### Texts Collated

H$^{1,2,3}$ (ff. 3$^v$–4$^r$).
    1 Benedictus] B H$^{2,3}$
# The Lyrics of Henry VIII/De tous bien plane (van Ghizeghem, Incipit)

[ff. 40$^v$-41$^r$]
De tous bien plane

## Textual Commentary

“De tous bien plane” appears as an incipit in H in the first and third voice; the second has no text whatsoever. There is no room left for block initial capitals, and none appear. As well, little room has been left among the musical notation for text listed in the manuscript’s table of contents as the thirty-first work. “De tous bien plane” is unattributed in H, although the piece is attributed elsewhere to Hayne van Ghizeghem.
“De tous bien plane” appears also in B78.B.17 (ff. 184$^{r–v}$), BQ16 (ff. 133$^v$–134$^r$), BQ18 (f. 48$^r$), CCap (ff. 20$^v$–22$^r$), CT3.b.12 (ff. 84$^v$–85$^r$), C291 (ff. 4$^v$–5$^r$), Di517 (ff. 11$^v$–12$^r$), Fl121 (ff. 24$^v$–25$^r$), Fl178 (ff. 34$^v$–35$^r$), FlR2356 (ff. 26$^v$–27$^r$), FlR2794 (ff. 18$^v$–19$^r$), Mo871 (#85), NH91 (ff. 42$^v$–43$^r$), P676 (ff. 42$^v$–43$^r$), P2973 (ff. 25$^v$–26$^r$), P15123 (ff. 105$^v$–106$^r$), Pav362 (ff. 34$^v$–35$^r$), PBOdh (ff. 22$^v$–23$^r$), PBS07 (I #19), Pe431 (ff. 70$^v$–71$^r$), Ps1144 (65–8), RC2856 (ff. 66$^v$–67$^r$), RG27 (ff. 64$^v$–65$^r$), S/P (f. 39$^r$), Up76a (ff. 15$^v$–16$^r$), W287 (ff. 52$^v$–53$^r$), WLab (ff. 62$^v$–63$^r$), and elsewhere (see Fallows, Catalogue 129–30; Atlas, ed. 136–37; and Jeppesen). Full texts appear in B78.B.17 (text only),C291, Di517, P2973, W287, and WLab. Incipits and partial texts appear in BQ16, Ccap, Fl121, Fl178, FlR2356, FlR2794, NH91, P676, P15123, Pav362, PBOdh, PBS07, Pe431, Ps1144, RC2856, RG27, S/P, and Up76a. An alternative text appears in CT3.b.12.
Below is the text provided by Jeppesen (7–8):
De tous biens plaine est ma maistresse, Chascun lui doit tribut d'onneur; Car assouvye est en valuer Autant que jamais fut deeesse.
En la veant j'ay tel leesse 5 Que c'est paradis et mon cueur. De tous biens . . .
Je n'ay cure d'autre richesse Si non d'estre son serviteur, Et pource qu'il n'est chois milleur 10 En mon mot porteray sans cesse: De tous biens . . .
This piece is reprinted in Stevens MCH8 36, Hewitt (ed. Odhecaton #20), Atlas (ed. 136–37), Lopelman (ed. #575), Jeppesen (7–8), and Lerner (ed., Agricola v.lxiv), among others. It is indexed in Fallows (Catalogue 129–30), among others.

## Textual Notes
### Texts Collated

H$^{1,2,3}$ (ff. 40$^v$–41$^r$).
    2 omit H$^2$
# The Lyrics of Henry VIII/Deme the best of euery dowt, Lloyd

[f. 79$^v$]
Deme the best of euery dowt tyll the trowth be tryed owt
deme the best of euery dowte tyll the trwth be tryed owt
deme the best of euery dowt tyll the trowth be tryed owt.
J. ffluyd

## Textual Commentary

“Deme the best of euery dowt” is a moralising, proverbial expression. This couplet is also found on a bronze jug of Richard II’s reign (Evans, English Art, 90). For a popular variant, see also John Heywood’s Ballads and Songs (264, l. 24) and his Dialogue: “Tyme tryeth trouth in every doubt. And deme the best, till time hath tryde the trouth out” (76, ll. 217–18); see also Whiting (T326).
    2 tryed Be first tried.
“Deme the best of euery dowt” is a round in three voices. In L1587 it is copied twelve times in full, and several more times in part, as pen practice, containing the variant first line “Deme the best in every dowte.” In OxHill the English lines are followed by the Latin “In dubijs serui melius cape pessima sperne.” This lyric is listed in H’s table of contents as the ninety-fourth work.
This piece is indexed in Robbins Index & Suppl. 675.5 and Ringler MS TM344 & TM343 (see also Ringler MS TM88). It is reprinted in Flügel Anglia 247, Dyboski ci. 131, Stevens M&P 413, and Stevens MCH8 57.

## Textual Notes
### Texts Collated

H$^{1,2,3}$ (f. 79$^v$), L1587$^{1,2}$ (2/4 16, f. 212$^r$), OxRawl86 (31), OxHill (f. 200$^v$).
    1 the best of euery] no thyng that is in OxHill
    2 tryed] try H$^1$, tryed H$^{2,3}$, OxRawl86, tried L1587$^{1,2}$, OxHill
# The Lyrics of Henry VIII/Belle sur tautes (Agricola, Incipit)

[ff. 99$^v$-100$^r$]
Belle sur tautes
Tota pulcra es

## Textual Commentary

“Belles sur tautes” appears as an incipit in H in only one of four voices. The initial capital is not provided, nor is space left for it in any of the other voices. Little room has been left among the musical notation for text. This piece is not listed in the manuscript’s table of contents. Unattributed in H, the piece is by Alexander Agricola. Stevens also notes that this piece is perhaps adapted here by a native composer (Stevens MCH8 109 #95).
“Belle sur tautes” also appears with music in FlC2439 (ff. 63$^v$–64$^r$), PBCan (ff. 161$^v$–162$^r$), PBFm (#84), and SG462 (f. 37r); in each case, only the incipit is present. The text of a lyric with the same incipit, though without music, is copied into P1722 (f. 3$^r$), as follows:
Belle sur tourtez et sans quelque macule je vostre serf ma diuine maistresse A vous seulle humblement je madresse vous supliant que peche ne maculle
Enfer me point et peche me macule 5 Mais vous pouez moster de ceste presse
Belle sur tourtez .
A voz vertus jamais napproucha nulle Dont vous pesente mon ame percherresse Que vous requiret que luy soiez adresse 10 Tant qua bien faire et vertus ne reculle
Bell sur toutez .
Transcribed according to Lerner (ed., Agricola 4.52–53), the bass part throughout as follows:
    Tota pulcra es amica mea et macula non est in te.
“Belles sur tautes” is reprinted in Lerner (ed., Agricola 4.52–53), and elsewhere.
Emendations of the Copy Text (H$^1$):
    1 Belle sur tautes] elle sur tautes H$^1$
# Turkish/Plural
#### Plural

The plural suffixes are -lar and -ler. -lar if the last vowel of the noun is a back vowel (a, ı, o, u) -ler if the last vowel of the noun is a front vowel (e, i, ö, ü)
araba => arabalar (car, cars) insan => insanlar (man, people) kitap => kitaplar (book, books) yazar => yazarlar (writer, writers) halı => halılar (carpet, carpets) kız => kızlar (girl, girls) yıldız => yıldızlar (star, stars) şarkı => şarkılar (song, songs) palto => paltolar (coat, coats) çocuk => çocuklar (child, children) memur => memurlar (officer, officers)
meyve => meyveler (fruit, fruits) kent => kentler (city, cities) gazete => gazeteler (newspaper, newspapers) resim => resimler (photo, photos) mühendis => mühendisler (engineer, engineers) gazeteci => gazeteciler (journalist, journalists) göz => gözler (eye, eyes) söz => sözler (word, words) gün => günler (day, days) gül => güller (rose, roses) bal => ballar (honey, honeys)
When a number other than one (two, three, etc.) precedes a noun, the noun remains in singular.
room, two rooms ==> oda, iki oda hour, three hours ==> saat, üç saat day, four days ==> gün, dört gün
# Turkish/Pronunciation and Alphabet
## Lessons on Pronunciation and Alphabet

* Alfabe "Alphabet"
* A-I
* İ-R
* S-Z
* Vowel Classifications and Harmony
* Consonant Classifications and Harmony
# Turkish/Past Continuous Tense

Past Continuous Tense
verb stem + present tense suffix + past tense suffix + personal ending(in 3.plural person the personal ending comes before the past tense suffix.)
for example,"gelmek (to come)": Gel + iyor + du + m -->Geliyordum. (I was coming.)
Geliyordun. (You were coming.)
Geliyordu. (He/She/It was coming.)
Geliyorduk. (We were coming.)
Geliyordunuz. (You were coming.)
Geliyorlardı. (They were coming.)
Another example,"gülümsemek (to smile)": gülüms(e is fallen)+ üyor+ du +m --> Gülümsüyordum.(I was smiling.) Gülümsüyordun. (You were smiling.)
Gülümsüyordu. (He/She/It was smiling.)
Gülümsüyorduk. (We were smiling.)
Gülümsüyordunuz. (You were smiling.)
Gülümsüyorlardı. (They were smiling.) Past Continuous Tense
# Turkish/Pronunciation and Alphabet/Alfabe"Alphabet"

| | IPA | English equivalent | Example | IPA |
| Aa | /a/ | like "a" in car | at "horse" az "few" | [at] [az] |
| Bb | /b/ | b in bait | bey "mister" bar "bar" | [bej] [baɾ] |
| Cc | /d͡ʒ/ | like "j" in John | Cem (a men's name) caz "jazz" | [d͡ʒem] [d͡ʒaːmi] |
| Çç | /t͡ʃ/ | like "ch" in chip | çam "pine" çok "many" | [t͡ʃam] [t͡ʃok] |
| Dd | /d̪/ | "d" in daddy | dil "tongue, language" demir "iron" | [dil] [demiɾ] |
| Ee | /e̞/ | similar to "e" in pet | el "hand" elektrik "electricity" | [el] [electric] |
| Ff | /f/ | "f" in fit | fare "mouse" fil "elephant" | [faːre] [fil] |
| Gg | /ɟ/ /g/ | g in good, spelled softer with front vowels | gemi "ship" garaj "garage" | [ɟemi] [gaɾaˈʒ] |
| Ğğ | /ː/ /j/ /ʝ/ /ɣ/ | Historically, this letter was pronounced as a consonant, but in the modern standard Istanbul Turkish dialect, it either elongates the previous vowel, functions like a vowel glide, or is silent. | eğitim "education" soğuk "cold" uğur "luck" değnek "cane" | [eʝitim] [soɣuk] [uːɾ] [dejnec] |
| Hh | /h/ | "h" in hat | hız "speed" harita "map" | [hɯz] [haɾita] |
| Iı | /ɯ/ | Similar to "e" in danger, but more accented | ısı "heat" ışık "light" | [ɯsɯ] [ɯʃɯk] |
| İi | /i/ | "i" in fit | ip "string, rope" iki "two" | [ip] [ici] |
| Jj | /ʒ/ | "s" in vision | Japon "Japanese" jeoloji "geology" | [ʒapon] [ʒeoɫoʒi] |
| Kk | /k/ /c/ | "c" in cat, spelled softer with front vowels | kedi "cat" kapı "door" | [cedi] [kapɯ] |
| Ll | /l/ /ɫ/ | "l" in life, spelled harder with back vowels | el "hand" al "red" | [el] [aɫ] |
| Mm | /m/ | m in me | mavi "blue" mor "purple" | [maːvi] [moɾ] |
| Nn | /n/ | "n" in near | neden "why" nar "pomegranate" | [neden] [naɾ] |
| Oo | /o/ | "oa" in boat | on "ten" okul "school" | [on] [okuɫ] |
| Öö | /ø/ | like "i" in bird, but with rounded lips | ön "front" öküz "ox" | [øn] [økyz] |
| Pp | /p/ | "p" in pet | palto "overcoat" peri "fairy" | [paɫto] [peɾi] |
| Rr | /ɾ/ | "r" in rat, with tongue slightly tapped once on the palate | radyo "radio" Romanya "Romania" | [ɾaˈdjo] [ɾomanja] |
| Ss | /s/ | "s" in sea | su "water" saksı "flower pot" | [su] [saksɯ] |
| Şş | /ʃ/ | "sh" in shoe | şu "that" şapşal "fool" | [ʃu] [ʃapʃaɫ] |
| Tt | /t/ | "t" in tea | Türk "Turkish" tür "kind, type, species" | [tyɾk] [tyɾ] |
| Uu | /u/ | "oo" in good, but shorter | uçak "airplane" un "flour" | [ut͡ʃak] [un] |
| Üü | /y/ | "u" in cure | üzüm "grape" ün "fame" | [yzym] [yn] |
| Vv | /ʋ/ | "v" in vet | vazo "vase" var "exists, there is" | [ʋazo] [ʋaɾ] |
| Yy | /j/ | "y" in year | yol "road" yok "doesn't exist, there isn't" | [joɫ] [jok] |
| Zz | /z/ | z in zebra | zebra "zebra" zor "hard" | [zebɾaˈ] [zoɾ] |

## Notes

* ↑ You only see b c d g j at the end of a one-syllable word. They're unvoiced here. Stress is always at the end.
* 1 2 3 4 G yumuşak Ge k l n change with a soft vowel.
* ↑ "Ğ" never occurs initially. The letter itself is named "yumuşak ge" (soft g).
# Turkish/Passive

The Passive Voice should be very familiar to speakers of English as well as most other European languages, and it exists in Turkish as well. This is accomplished with the suffixes -ıl- and -ın- in Turkish. This article will cover this construction in greater detail.

## Formation

Verb stems ending in consonants take the ending -ıl-, with respect to 4-way vowel harmony.
However, when the verb stem ends in l, -ın- is preferred instead. (with respect to 4-way vowel harmony)
Stems ending in vowels always take the ending -n.

### Irregular verbs

There are a very small amount of irregular passive forms in Turkish.

### Combination with other suffixes

A verb inflected in the passive voice acts just like any other verb, and thus can receive any other suffixes attached to regular verbs. Almost always, the passive voice suffix comes before other suffixes.
* Yapılmayabilirmiş
* Görülürseniz
* Düşünülebilir mi
The only suffix that may come before the passive voice suffix is the causative voice ending.
* Öldürülmek
* Düşündürülmek
* Kapatılmak

## Usage
### After transative verbs

The effect of the passive voice in transative verbs is quite natural. The real subject of the sentence is hidden, and the object acts as the subject.
* Bu kitap çok seviliyor. This book is quite liked.
* Salonumuz şu an boyanıyor. Our living room is being painted at the moment.
The real subject may be expressed using the postposition tarafından, but this isn't used as often in Turkish as it is used in English. When this happens, the tarafından phrase usually comes right before the verb.
* Her yıl 9,5 milyon kişi kanser tarafından öldürülüyor. 9.5 million people are killed because of cancer each year.
In formal speech, the suffix -ca may be used instead when the real subject is an official body.
* Kanunlar Cumhurbaşkanınca yayımlanır. Bills are signed into law by the President.
* Öneriniz bakanlıkça reddedildi. Your proposal was rejected by the ministry.

### After intransative verbs

While it sounds completely unnatural for an English speaker, in Turkish intransative verbs may receive the passive voice as well! This produces a sentence with an impersonal meaning, meaning that no person is understood to be performing the action. Think of man in German and on in French. The closest English equivalents are you or one. This is most often used with the Aorist tense. Such verbs are always in 3rd person singular.
* Kadıköy'den buraya nasıl geliniyor? How can one come here from Kadıköy?
* Topluluk ortasında dövüşülmez. You shouldn't fight in public.

### Double Passive

In a similar fashion to the construction above, a transative verb may receive two passive suffixes to produce a similar impersonal meaning.
* Dolma, sarımsaklı yoğurtla yenilir. Dolma is eaten with garlic yoghurt.
Sometimes, especially in everyday speech, double passives are used with absolutely no change in meaning.
* Dediğin konu hakkında çok şey söylenildi. So much was said about the topic you just put forward.
# Speech-Language Pathology/Stuttering/Fluency Master

* Anti-stuttering technology: Amplifies vocal fold vibration.
* Behind-the-ear (BTE) hearing aid
* Monaural (one ear).
* Website: http://www.stutteringcontrol.com/

## Efficacy Studies

14% reduction in stuttering in conversations without therapy; greater effectiveness with therapy and for reading aloud.

### References

* ^ Webster, Ronald. "Manipulation of Vocal Tone: Implications For Stuttering," in Speech Motor Controls and Stuttering, ed. Peters, Hulstijn, and Starkweather, New York: Elsevier, 1991.

## Personal Experiences with Fluency Master Devices

Please read Speech-Language Pathology/Stuttering/How to Participate in this Wikibook before adding material.
# Speech-Language Pathology/Stuttering/Fluency Enhancer

* Anti-stuttering technology: DAF, FAF (octave-scale).
* Pocket-sized.
* Special features: plugs into telephones; claims to be part of a "completely integrated program" that trains the user to no longer need the device in 3-5 months.
* Frequency range: 60-5000 Hz.
* Monaural (one ear) or binaural (two ears).
* Anti-background noise features: noise-canceling microphone, high-frequency filter, acoustical transparency.
* Website: http://www.fluencyenhancer.com/

## Personal Experiences Using Fluency Enhancer Devices

Please read Speech-Language Pathology/Stuttering/How to Participate in this Wikibook before adding material.
# Speech-Language Pathology/Stuttering/Fluency Shaping

Fluency shaping therapy trains stutterers to speak fluently with relaxed breathing, vocal folds, and articulation (lips, jaw, and tongue).
This chapter is divided into sections:

## History of Fluency Shaping Therapy

William Perkins and Richard Curlee developed the first fluency shaping programs. Einer Boberg (ISTAR), Bruce Ryan (Monterey Fluency Program), George Shames and Cheri Florence (Stutter-Free Speech), and Ronald Webster (Hollins) have developed other programs.

## External Links:

* ISTAR
* Hollins
# Speech-Language Pathology/Stuttering/Fluency-Shaping Therapy/Fluency-Shaping Programs
## Hollins Fluency System (Ronald Webster)

Ronald Webster's Hollins Fluency System is an intensive, residential stuttering therapy program. Clients practice at the Virginia speech clinic seven and a half hours a day for 12 days.
The Hollins program begins with extremely slow, two seconds per syllable speech. This is even slower than Perkin's two seconds per word speech. It also makes all syllables the same length. E.g., at two seconds per word, "American" is a half-second per syllable, which is too fast for stutterers to speak fluently. At two seconds per syllable, "American" takes eight seconds to say and even severe stutterers should be completely fluent.
The Hollins program doesn't use DAF devices. Instead, clients watch stopwatches to time their speech.
After mastering slow speech, you work on "gentle onsets" or gradual onset of phonation. A "voice monitor" device (now a computer program) provides biofeedback on the "gentle onset" target behavior. A second biofeedback device is used to train diaphragmatic breathing.
Clients also practice stretched syllable including stabilization of the first sound position, definite completion of the final articulatory position and bringing articulators to neutral.
When these targets are mastered, the two seconds per syllable speech (ten times slower than normal speech) is reduced to one second per syllable (five times slower than normal speech), then half-second stretched syllables (half the normal speaking rate) and then quarter-second per syllable "slow normal" speech, which is a little slower than normal speech but has normal prosody. This speech rate is still too slow for normal conversations with other people unless you force them to wait.
Transfer is first done with telephone calls to local businesses, and then is done in shopping malls.
. There is not enough transfer into the real world but this is good for Hollins as it protects them from being blamed for the failure that many clients experience after they leave Hollins.
# World Tea Bag Catalogue/M
### Index of Brands / M

* SRI Mabroc
* BRA Madrugada
* AUS Madura Tea
* NED Maharishi Ayur-Veda
* ITA Maraviglia
* CZE Megafyt
* DEU Messmer
* DEU Messmer-Tee
* DEU Meßmer
* DEU Meßmer-Tee
* AUT Milford
* DEU Milford
* FRA Milford
* GBR Milford
* ITA Milford
* RUS Milford
* SUI Milford
* PRT Modelo
* POL Mokate Tea
* RUS Mr. Brown
* NED Mr. Jones
Total : 14
# World Tea Bag Catalogue/N
### Index of Brands / N

* PRT Nandi
* USA Native American
* ARG Natura
* ROU Naturavit
* HUN Naturland
* PRT Naturplan
* FRA Nespresso
* FRA Nestle
* ESP Nestle
* GBR New English Teas
* GBR Newby
* JPN Nittoh
* FIN Nordqvist
* USA Numi
Total : 13
# World Tea Bag Catalogue/O
### Index of Brands / O

* CAN O Organics
* USA O Organics
* TUR Obaçay
* TUR Ofçay
* ITA Old Time Tea
* DEU Onno Behrends
Total : 5
# World Tea Bag Catalogue/P
### Index of Brands / P

* SUI Padma
* FRA Pagés
* ARG Patagonia
* NED Pickwick
* FRA Plantami
* FRA Plantation d'Or
* ARG Playadito
* NED Plus
* IND Premier's
* NED Princess
* AUT Pompadour
* ESP Pompadour
* DEU Pompadour
* FIN Pompadour
* ITA Pompadour
* SVK Popradský
* DEU Pukka
* GBR Pukka
Total : 13
# World Tea Bag Catalogue/Nandi
## Nandi

* Series
| Tea bag Name : Camomila | Brand Group : |
| Serie Name : | Bag number : |
| Tea Type : | Flavours : Camomille |
| Flap : Bag (no flap) | Front Texts : |
| Back Texts : | Flap Texts : |
| Material : Plastic | Form : Rectangular |
| Colours : Transparent, Yellow in label back | Size : |
| Weight : | Country : Portugal |
| Year : | Notes : Flavour in 5 languages (Back of Tea Label) |
| Tea bag Name : Cidreira | Brand Group : |
| Serie Name : | Bag number : no number |
| Tea Type : | Flavours : Balm |
| Flap : Bag (no flap) | Front Texts : |
| Back Texts : | Flap Texts : |
| Material : Plastic | Form : Rectangular |
| Colours : Transparent, Blue in label back | Size : |
| Weight : | Country : Portugal |
| Year : | Notes : Flavour in 5 languages (Back of Tea Label) |
| Tea bag Name : Chá Verde | Brand Group : |
| Serie Name : | Bag number : no number |
| Tea Type : | Flavours : Green Tea |
| Flap : Bag (no flap) | Front Texts : |
| Back Texts : | Flap Texts : |
| Material : Plastic | Form : Rectangular |
| Colours : Transparent, Green Dark in label back | Size : |
| Weight : | Country : Portugal |
| Year : | Notes : Flavour in 5 languages (Back of Tea Label) |
| Tea bag Name : Chá Preto | Brand Group : |
| Serie Name : | Bag number : no number |
| Tea Type : | Flavours : Black Tea |
| Flap : Bag (no flap) | Front Texts : |
| Back Texts : | Flap Texts : |
| Material : Plastic | Form : Rectangular |
| Colours : Transparent, Green Dark in label back | Size : |
| Weight : | Country : Portugal |
| Year : | Notes : Flavour in 5 languages (Back of Tea Label) |
| Tea bag Name : Tília | Brand Group : |
| Serie Name : | Bag number : no number |
| Tea Type : | Flavours : Linden Flowers |
| Flap : Bag (no flap) | Front Texts : |
| Back Texts : | Flap Texts : |
| Material : Plastic | Form : Rectangular |
| Colours : Transparent, Green in label back | Size : |
| Weight : | Country : Portugal |
| Year : | Notes : Flavour in 5 languages (Back of Tea Label) |
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# World Tea Bag Catalogue/Q
### Index of Brands / P

* AUS Qi
* GBR Qi
* AUS Quality
Total : 2
# World Tea Bag Catalogue/R
### Index of Brands / R

* THA Raming
* NED Randstad
* SUI Raselli
* BEL Red Lady
* CAN Red Rose
* USA Red Rose
* NED Reuser & Smulders
* NED Riant
* DEU Ronnefeldt
* BEL Roode Pelikan
* EGY Roots
Total : 10