OpenLLM-France/wikimedia huggingface dataset:
# Songbook/All Creatures Of Our God And King

Hymne – Alternative title: Can­ti­co di frat­re so­le; Song of Bro­ther Sun, Text: Francis of Assisi (*1182 †1226) (origin approx. 1225, publication nearly 400 jears later ); translation into English by William Henry Draper (*1855 †1933) (1919 publ.), arranged by Mjchael
This so-called Canticle of the Sun is an ode to God's creation that other people will donate consolation.
| Guitar | Ukulele (gcea) |
| Bm 2.fret | G Em D C Am A Bm |

# All Creatures Of Our God And King

mightCapo = 5;

## Verse 1

    [G]All creatures of[(Em]our[C)]God and[D]King,[']
    [G]Lift up your[(Em]voice with[C)]us and[D]sing:[']
    [G]Alle-[C]lu-[Bm]ia![Em]Alle-[A]lu-[D]ia!
    [G]Thou burning[Em]sun with[C]golden[D]beam
    [G]And silver[Em]moon with[C]softer[D]gleam:

   ## Chorus

       [C]Oh,[D]praise[Em]Him![C]Oh,[D]praise[Em]Him!
       [G]Alle-[C]lu-[Bm]ia![Em]Alle-[A]lu-[D]ia!
       [C]alle-[Am]-[D]lu-[G]ia!
    [G]Thou rushing[Em]wind that[C]art so[D]strong,
    [G]Ye clouds that[Em]sail in[C]heav'n a-[D]long,
    [G]O[C]praise[Bm]Him![Em]Alle-[A]lu-[D]ia!
    [G]Thou rising[Em]morn, in[C]praise re-[D]joice,
    [G]Ye lights of[Em]evening[C]find a[D]voice!

   ## Chorus...

    [G]O flowing[Em]waters,[C]pure and[D]clear,
    [G]Make music[Em]for your[C]Lord to[D]hear,
    [G]O[C]praise[Bm]Him![Em]Alle-[A]lu-[D]ia!
    [G]O fire, so[Em]master-[C]ful and[D]bright,
    [G]Providing[Em]us with[C]warmth and[D]light.

   ## Chorus...

    [G]Dear mother[Em]earth, who[C]day by[D]day
    [G]Unfolds rich[Em]blessings[C]on our[D]way.
    [G]O[C]praise[Bm]Him![Em]Alle-[A]lu-[D]ia!
    [G]The flow'rs and[Em]fruits that[C]verdant[D]grow,
    [G]Let them his[Em]praise ab-[C]undant[D]show.

   ## Chorus...

    [G]And all ye[Em]men of[C]tender[D]heart,
    [G]Forgiving[Em]others,[C]take your[D]part,
    [G]O[C]sing[Bm]ye![Em]Alle-[A]lu-[D]ia!
    [G]Ye who long[Em]pain and[C]sorrow[D]bear,
    [G]Praise God and[Em]on Him[C]cast your[D]care!

   ## Chorus...

    [G]Let all things[Em]their Cre-[C]ator[D]bless,
    [G]And worship Him[Em]in[C]humble-[D]ness,
    [G]O[C]praise[Bm]Him![Em]Alle-[A]lu-[D]ia!
    [G]Praise, praise the[Em]Father,[C]praise the[D]Son,
    [G]And praise the[Em]Spirit,[C]Three in[D]One!

   ## Chorus...
## Links

* [http://www.cyberhymnal.org/htm/a/c/acoogak.htm All Creatures Of Our God And King]
* [http://www.youtube.com/results?search_type=&search_query=All+Creatures+Of+Our+God+And+King Videos bei YouTube]

## References

* ↑ The chord Bm can be exchange by D-major. With Bm, there is a better quint chain. The chords walk from the Bm the circle of fifth backwards to G-Minor. (Bm Em A D G = IIIm - VIm - II - V - I).
# Songbook/Aloha Oe

well-known Hawaiian traditional – Alternative title: Farewell To Thee, Text and melody: Queen Liliuokalani (1878 written and 1890 for the first time published), arranged by Paniolo
| Guitar | Ukulele (gcea) |
| | F Bb C7 G7 F7 |

# Aloha ʻOe

    Haʻa[F]heo e ka[Bb]ua i nā[F]pali
    Ke[C7]nihi aʻela i ka nahele
    E u-[F]hai ana [Bb]paha i ka [F]liko
    Pua [Bb]ʻā-[G7]hihi le-[C7]hua o [F]uk-[Bb]-[F]ka [F7]

   ## Hui

       A-[Bb]loha ʻoe, a-[F]loha ʻoe
       E ke [C7]onaona noho i ka [F]li-[F7]po
       One [Bb]fond embrace, A [F]hoʻi aʻe au
       Un-[C7]til we meet a[F]gain [Bb] [F]
    ʻO ka haliʻa aloha i hiki mai
    Ke hone aʻe nei i
    Kuʻu manawa
    ʻO ʻoe nō kaʻu ipo aloha
    A loko e hana nei

   ## (Hui)

    Maopopo kuʻu ʻike i ka nani
    Nā pua rose o Maunawili
    I laila hiaʻia nā manu
    Mikiʻala i ka nani o ka lipo

   ## (Hui)
## Akkordschema

| Verse | Chorus |
| | F| Bb| F| -|| C7| -| -| -|| | F| Bb| F| -|| Bb G7| C7| F Bb| F F7|| | | Bb| -| F| -|| C7| -| F| F7|| | Bb| -| F| -|| C7| -| F Bb| F|| |

### Tip: Capo im 1. fret and playing E-major-chords

| Verse | Chorus |
| | E| A| E| -|| H7| -| -| -|| | E| A| E| -|| A F#7| H7| E A| E E7|| | | A| -| E| -|| H7| -| E| E7|| | A| -| E| -|| H7| -| E A| E|| |

## Links

* Videos bei YouTube

## Footnotes

* ↑ hui (hawaiianisch) = Refrain
# Amapola (Spanish text)

    Ama-[A]pola, lindisima amapola,
    Será siempre, mi alma, tuya [E7]sola.
    Yo te [E7]quiero, amada niña mia,
    Iqual que ama, la flor la luz, del [A]día.
    Amapola, lindisima amapola,
    No [A]seas [F#7]tan, ingrate y áma-[Bm]me.
    Amapola, ama-[D]pola [Dm]
    Cómo puedes tú vi-[A]vir [Ab7]tan [G7]so-[F#7]la.
    Yo te quiero, amada niña mía.
    Igual que ama la flor la luz del día.
    Amapola, lindísima amapola,
    No seas tan ingrate y ámame.
    Amapola, amapola
    Cómo puedes tú vivir tan sola.

## Web-links

* midi with text (for karaoke player like that of Vanbasco)
* midi without text, but better arrangement
* YT Videos on Youtube
# Somali/Printable version

The current, editable version of this book is available in Wikibooks, the open-content textbooks collection, at
https://en.wikibooks.org/wiki/Somali

# Alphabet

A a [aa]
B b [bee]
C c [ae]
D d [dee]
E e [ee]
F f [ef]
G g [gee]
H h [haa]
I i [ie]
J j [jot]
K k [kaa]
L l [el]
M m [em]
N n [en]
O o [oo]
P p [pee]
Q q [kuu]
R r [er]
S s [es]
T t [tee]
U u [uu]
V v [vau]
W w [wee]
X x [ex]
Y y [y]
Z z [set]

# Gender
## Gender

* man nin
* woman haweeney/mareey/dumar/naag/xaawoleey
* husband nin
* wife xaas/oori/afo
* boy wiil
* girl gabar/gabadh
* father aabe
* mother hooyo

# Dialects

The Somali language has a number of dialects including:
* Northern Somali
** Northern Somali
** Darod
** Lower Juba Northern Somali
* Ashraaf
* Banaadir
* Digil
* May

## Dialect Maps

* Dialects of Somali
* Dialects of Northern Somali
# Acres Of Clams

Folk-Song from the northwest of the USA – Alternative title: Old Settler’s Song, Lay of the Old Settler, Rosin the Beau, ..., Text and melody: Francis D. Henry (1874), arranged by Mjchael and Paniolo

## Ukulele (gcea)

| C | Am | G7 |

## Acres Of Clams
### 1st Verse

I've [C]wandered all over this country, prospecting and digging for [Am]gold I've [C]tunneled, hydraulicked and cradled and I nearly [G7]froze in the [C]cold And [C]I nearly froze in the cold (me boys), and I nearly froze in the [Am]cold I've [C]tunneled, hydraulicked and cradled and I nearly[G7]froze in the[C]cold

### 2nd Verse

For[C]one who got wealthy by mining, I saw many hundreds get[Am]poor I[C]made up my mind to go digging for something a[G7]little more[C]sure For[C]something a little more sure (me boys), for something a little more[Am]sure I[C]made up my mind to go digging for something a[G7]little more[C]sure

### 3rd Verse

I[C]rolled up my grub in my blanket, I left all my tools on the[Am]ground I[C]started one morning to shank it for the country they[G7]call Puget[C]Sound For the[C]country they call Puget Sound (me boys), for the country they call Puget[Am]Sound I[C]started one morning to shank it for the country they[G7]call Puget[C]Sound

### Last Verse

No[C]longer a slave of ambition, I laugh at the world and its[Am]shams And I[C]think of my happy condition, surrounded by[G7]acres of[C]clams Sur-[C]rounded by acres of clams (me boys), surrounded by acres of[Am]clams And I[C]think of my happy condition, surrounded by[G7]acres of[C]clams

## Weblink

* YT Acres Of Clams
* Old_Settler's_Song_(Acres_of_Clams)
# Alle Jahre wieder

German Christmas carol – Text: 1837 Johann Wilhelm Hey, Melody : Ernst Anschütz, arranged by Mjchael

## 1. Strophe

    [D]Alle Jahre[wie-[A)]der[(D]kommt das[G)]Christus-[A]kind
    [D]auf die Erde[(G]nie-[A)]der,[(D]wo wir[A)]Menschen[D]sind.

## 2. Strophe

    [D]Kehrt mit seinem[Se-[A)]gen[(D]ein in[G)]jedes[A]Haus,
    [D]geht auf allen[(G]We-[A)]gen[(D]mit uns[A)]ein und[D]aus.

## 3. Strophe

    [D]Steht auch mir zur[Sei-[A)]te,[(D]still und[G)]uner-[A]kannt,
    [D]dass es treu mich[(G]lei-[A)]te[(D]an der[G)]}}lieben[D]Hand.

## 4. Strophe

    [D]Sagt den Menschen [al-[A)]len,[(D]dass ein [G)]Vater [A]ist,
    [D]dem sie wohlge-[(G]fal-[A)]len,[(D]der sie [G)]nicht ver-[D]gisst.

## Accompaniment proposal
### see also

* Translation of "Alle Jahre wieder" on Wikipedia
* Videos on YouTube
# Am Weihnachtsbaum die Lichter brennen

Volkslied 1866 – Hermann Kletke

## 1. Strophe

    Am Weihnachts-[D]baum die Lichter[']brennen, wie glänzt er[A]festlich, lieb und[D]mild,
    als spräch er:[A]Wollt in mir er-[D]kennen getreu-er[A]Hoffnung stilles[D]Bild!.

## 2. Strophe

    Die Kinder[D]stehen mit hellen[']Blicken, das Au-ge[A]lacht, es lacht das[D]Herz.
    O fröhlich[A]seliges Ent-[D]zücken! Die Alten[A]schauen himmel-[D]wärts.

## 3. Strophe

    Zwei Engel[D]sind herein ge-[']treten, kein Auge[A]hat sie kommen[D]sehn.
    Sie gehn zum[A]Weihnachtstisch und[D]beten und wenden[A]wieder sich und[D]gehn.

## 4. Strophe

    Kein Ohr hat[D]ihren Spruch ver-[']nommen, unsicht-bar[A]jedes Menschen[D]Blick,
    sind sie ge-[A]gangen wie sie ge-[D]kommen doch Got-tes[A]Segen bleibt zu-[D]rück.

## see also

* Videos on YouTube
# 500 Miles (Hedy West)

Folksong: © & Publication Credit Not Available – arranged by Mjchael
The lyrics and melody are attributed to folk singer Hedy West. However, she herself claims to be responsible only for the arrangement and that she is not entitled to the honor of authorship. The song is said to have originated from an older version (possibly '900 Miles').

## 500 Miles
### 1. Verse

If you[G]miss the train I'm[Em]on,
you will[Am]know that I am[C]gone, you can[Am]hear the whistle[C]blow a hundred[D]miles.[D7] A hundred[G]miles, a hundred[Em]miles, a hundred[Am]miles, a hundred[C]miles, you can[Am]hear the whistle[(C]blow
a[D7)]hundred miles.[G]

### 2.Verse

Lord, I'm[G]one, Lord, I'm[Em]two,
Lord, I'm[Am]three, Lord, I'm[C]four,
Lord, I'm[Am]five hundred[C]miles
a way from[D]home.[D7] Away from[G]home, away from[Em]home, away from[Am]home, away from[C]home, Lord, I'm[Am]five hundred[(C]miles
a-[D7)]way from[G]home.

### 3.Verse

Not a[G]shirt on my[Em]back,
not a[Am]penny to my[C]name.
Lord, I[Am]can't go back[C]home
this-a-[D]way.[D7] This-a-[G]way, this-a-[Em]way, this-a-[Am]way, this-a-[C]way, Lord, I[Am]can't go back[(C]home[D7)] this-a-[G]way.

### 4.Verse(=1.Verse)

If you[G]miss the train[/F#]I'm[Em]on,
you will[Am]know that I[/B]am[C]gone, you[/B]can[Am]hear the whist-[/B]le[C]blow
a hundred[D]miles.[D7] A hundred[G]miles, a hun-[/F#]dred[Em]miles, a hundred[Am]miles, a hun-[/B]dred[C]miles, you[/B]can[Am]hear the whis-[/B]tle[(C]blow
a[D7)]hundred miles.[G]

## unknown Chords

Shorthand for slash chords

### G ... /F# = G ... G/F#
### Am ... /B = Am ... Am/B
## Walking bass
## Weblink

* YT 500 Miles (Hedy West)
* Adopted from the German Wikibooks: b:de:Liederbuch/ 500 Miles Hedy West
# Technical Theatre/Lighting/Fresnels

A Fresnel lantern is a light which makes use of the Fresnel Lens, named after Augustin-Jean Fresnel. The lens has a stepped appearance, instead of a round, smooth one. This allows the lens to have a much greater curvature than would otherwise be practical.
Theatrical Fresnels are typically made in 8, 6 or 3 inch varieties, referring to the diameter of the lens, with lamps ranging in wattage from 150 W (typically with a 3-inch fresnel) to 2000W (with an 8-inch fresnel). Fresnel lenses can operate close to the light source and are very cheap to produce, so the lanterns tend to be small and cheap.
Unfortunately, Fresnels are not very efficient. The reflector cannot be larger than the lens aperture, and thus all the radiated light that is neither redirected forward by the spherical reflector behind the bulb or emitted directly through the lens is absorbed by the casing as waste heat.

## Uses

The stepped lens gives the beam a very even spread of light, compared to an ERS, and this makes them useful for color washes or back- or top- lighting. They are best used at a medium throw. The lack of beam control can be combated by the use of barn doors.
# Technical Theatre/Lighting/Gels

Gels, are the coloured 'filters' placed in front of the lights found in theatres, so to colour the beam. Gels are referenced and referred to by number or a letter and number combination. The numbers correlate to a specific color. Since the numbers are assigned by the manufacturer, and are not interchangeable between brands, if gels from multiple manufacturers are present in one shop they will be marked with a letter before the number; typically an R for Roscolux, and L for Lee Filters or an A for Apollo. Three of the most common manufacturers of gels, Lee Filters, Roscolux, and Apollo manufacture 'swatches'. These are packaged as small books with samples of all the different gel colors, allowing lighting designers to sample different gels. You can also obtain a color equivalancy chart from the manufacturers that compares the different manufacturers number systems relate to the color of the filter.

## History

Gels were originally made out of gelatine. "Gelatine" was shortened to "gels". How and when this occurred is not known. Today, gels are made from a mylar-like polyester. However, the term "gel" remains in common usage. The more correct term color filter, sometimes shortened to color, is also used to refer to these filters.
When gels were made of gelatine, many lighting rookies were given dusty gels that they were to get clean by rinsing in hot water. When they came back, some came back smiling and others came back horrified, convinced that they had done something wrong.

## Usage

Gels are normally placed in a "color frame", which is a metal or flame-retardant paper frame that holds the gel. This ensures the gels do not wrinkle from the heat as much as they would otherwise and also that they do not bend and fall out of the light. Metal frames are used in most applications because they are more sturdy, and last longer. Paper frames are sometimes used in positions where the lighting instrument will be placed above the audience. The frames are put into the color frame slot at the front of the lighting instrument to color the light.
During use, gels wrinkle and eventually burn through after being used for some time. This is due to the large amount of heat coming out of the luminare and going into the gel. Gel color determines how quickly the gel wrinkles and 'burns-through', with the rate depending on how much heat is concentrated on the gel. Darker colors, which have a lower rate of transmission, mean that more light is stopped from going through, resulting in more heat, and shorter lifespans.

## Related Links

* Lee Filters
* Lee Filters Swatch Ball
* Rosco
* Apollo
# Technical Theatre/Lighting/Introduction

Lighting for the stage involves manipulating the four major Controllable Qualities of light; Intensity, Color, Direction and Movement; to influence the four functions of stage lighting which are Mood, Selective Focus, Modeling and Visibility.
Four Controllable Qualities of Light
* Intensity:The intensity of a light source can vary from near total darkness to painfully bright.
* Color:Nearly any color you can think of can be created through the use of lighting gels or electronic means. Color can be a major player in creating a mood. However, the lighting designer must be careful in choosing colors so that they coordinate with the colors chosen for costumes and set pieces as well.
* Direction:This is the area from which the light approaches the stage. This is a major contributor to the function of modeling. Light can come from below, directly above or anywhere in between. They can also originate from in front of the actors, behind them or off to a side. Each combination of directions has its unique effect on the highlights and shadows produced.
* Movement:refers to the changing in the lights whether it be a change in intensity, color or direction of origin.
Functions of Stage Lighting
* Visibility is the primary function of stage lighting: making sure the audience can see the part(s) of the stage that the director and/or the lighting designer want them to see.
* The modeling function includes creating a realistic (or intentionally non-realistic) view of the world of the play. This is done by strategically placing lights above, below, to the side, in front and behind the actors. Through the use of the placement of the lights, you can create different types of highlights and shadows on the actors, props and set pieces.
* Selective Focus is the function of "forcing" the audience to look where it is desired for them to look through the use of high/low intensity and changes in intensity.
* The function of Mood is both one of the most difficult and at the same time the easiest function to maintain. It is the easiest because it can be done very simply through the use of colors. However, it can also be overdone to the point of becoming cliche instead of allowing the actors and other aspects to contribute to the overall mood of the play.
# Technical Theatre/Lighting/DMX

DMX512, is a control protocol, used in most theatres to control dimmers and intelligent fixtures. DMX, is the replacement of AMX192 which is an analogue system that is based around using a voltage difference between 0-10V to control lights. DMX 512, has many advantages over the old AMX system: DMX, can be used to control intelligent moving lights, and is much easier to interface with computer based systems.
The DMX system consists of what are referred to as channels, and the value of each channel varies from 0 to 255. However in the case of a dimmer, this would normally be changed on the controlling device so that the brightness was displayed in a percentage form. Each XLR cable run, can carry up to 512 channels, hence DMX is referred to as DMX512.
DMX 512, works on a system of highs and lows, and packets of data; these packets that tell the fixture or dimmer what to do and are refreshed as soon as the last packet has finished being interpreted. When there are no channels transmitting data in what is known as a 'no-data' situation, the DMX control device will output a continuous high signal. At the start of the next DMX packet, there is a Break, and this is then followed by the Mark After Break, this followed in turn by the Start Code and this again followed by the Mark Time Between Frames which is followed by the Channel Data, which is finally followed by the Mark Time Between Packets.
DMX can be transferred through various cable types, the three most common, are XLR5, XLR3 and RJ45 Ethernet. Originally the standard was XLR5, as whilst DMX only utilised 3 wires, there were two extra cores, to allow for possible expansion, and also separate DMX cable, from microphone cable. However more recently, many manufacturers have started using XLR3 connectors as it allows the utilisation of microphone cable, which is often more easily available. RJ45 ethernet connectors began to be used, as it allowed the networking of all DMX devices, as both lighting desks, dimmers and some newer intelligent fixtures began to have networking capability, a feature which could be found extremely useful in larger theatres.
More information regarding DMX, can be found on the U.S. Institute of Theatre Technology's website, as DMX512 is based on their standards
# Technical Theatre/Lighting/Floodlights

Floodlights are basic theatrical lighting instruments, consisting of primarily of a reflector box and a lamp, usually attached to a yoke to allow the instrument to be hung. They are often used in the theater for color washes, or left uncolored for use as work lights. They offer practically no control of the beam or focus. Gels placed over a floodlight tend to fade quickly because floodlights generate a great deal of heat. However, floodlights tend to be among the least expensive lighting instruments due to their simple construction and few complicated parts.They are also used in football games,cricket games,netball games and many more.
# Technical Theatre/Lighting/Gobos

A Gobo (derived from Go Between or Goes Before Optics) is a thin piece of metal, wood, or glass used to used to modify the shape of the projected light. It is generally used with Ellipsoidal Reflector Spots, which normally provide a specific slot for gobo use. Old soda cans make a cheap replacement for custom made metal gobos, but don't last as long as professionally made gobos.
Plastic gobos—which are generally custom made—are available when a pattern is needed in color and glass does not suffice. However, these thin plastic films generally need to be used with special cooling elements to prevent melting them. A lapse in the cooling apparatus, even for just a few seconds, can cause an expensive gobo to be ruined.
Glass gobos can become very complex, and can make use of coloring, much like a stained glass window.
Most manufacturers produce a swatch book of their gobos, and like gels they are referred to by a number rather than name. For example, most manufacturers offer a gobo of a window, but they are all slightly different. So instead of calling it window, it would be identified as gobo 77143
# Technical Theatre/Lighting/Dimmers

Dimmers are mechanical or electromechanical devices used to vary the amount of electrical power being sent to each lighting instrument. In most modern theaters, changing the dimmers' output is the primary means of controlling the intensity of the lighting on stage.
The construction of dimmers has evolved considerably over time. Some of the oldest dimmers used in the theater, known as 'salt water dimmers,' consisted of a glass jar filled with salt water with two metal leads placed inside. When this was wired in series with the light to be controlled, an operator could control the light's output by varying the distance between the leads. This was a difficult (and often hazardous) process.
Modern dimmers are much more technically complex, and a great deal safer. They control the amount of voltage in the circuit using thyristors, simple electronic circuits that rapidly turn themselves on and off, allowing precisely the amount of current needed to pass through.
# Technical Theatre/Lighting/Ellipsoidal

An Ellipsoidal reflector spotlight or Profile Spotlight (abbreviated to Ellipsiodal or ERS) is a light with a strong, well defined beam, and is very versatile. Leko and Source Four are two of the most common brand names of these lights.
Commonly the light includes:
* A gel holder
* A gobo holder
* Several shutters to shape the beam.
* An adjustable barrel, allowing a lighting designer to change the size and focus of the light thrown by the unit by changing the distance between the mirror and the smooth, plano-convex lens or lenses
There are several advantages of the ERS that make it one of the most common lights in a theatre. Its Ellipsoidal lens means only a 500w or 750w bulb is needed, instead of a 1000w bulb, while retaining the same brightness. Some ERSes, notably the Source Four, also include a dichroic reflector, so the beam is much cooler than other lights. Dichroic reflectors only reflect light from the visible spectrum, allowing infrared (heat) radiation to pass out the back of the light. This prolongs the life of gels and gobos.
Ellipsoidals can have either a fixed field angle, normally from 5° to 50°, or a variable field angle, commonly called a "Zoom". ETC, who manufacture the Source 4, produce a variety of attachments, commonly called "barrels", to change the field angle of the Source 4.

## Uses

Ellipsoidals can be used for colour washes, with an attachment to change the field angle, but this job is better suited to PAR cans, Fresnels and Floodlights. Ellipsoidals are good for gobo projection, and highlighting actors or scenery on stage. They can also be used to god-spot actors by placing them at a sharp (5° - 10°) angle. This gives the effect of divine intervention, or, if used with a green gel, alien abduction.