" Some of his songs, for example Pueblito, mi pueblo, La rosa y el sauce (" The Rose and the Willow ") and Se equivocó la paloma (" The Dove Was Wrong "), became national favorites.

* " Se aprovechan de mi nobleza " (" They take advantage of my nobility ") — which he would usually say after an insult, like " We should've called Superman or Batman ...", or when he is forced to do something against his will.

* Ah che fugir … Se il ciel mi chi rida ;

#" Se non miro io mi moro " ( S ' io non miro non moro )

*" Il magone " / " Se mi gira l ' elica " ( 1964 )

* Se Murio mi Padre ( accordion )

An Italian translation by Franco Migliacci, " Se mi vuoi bene ", has been recorded by Patty Pravo in 1968.

Thus, Se tu non lasci amore from 1722 became the basis of " O Death, where is thy sting?

" The melody is adapted from Handel's 1722 cantata Se tu non lasci amore, and is in Luckett's view the most successful of the Italian borrowings.

Agrippina's aria " Non hò cor che per amarti " was taken, almost entirely unadapted, from " Se la morte non vorrà " in Handel's earlier dramatic cantata Qual ti reveggio, oh Dio ( 1707 ); Narcissus's " Spererò " is an adaptation of " Sai perchè " from another 1707 cantata, Clori, Tirsi e Fileno ; and parts of Nero's Act 3 aria " Come nube che fugge dal vento " are borrowed Handel's oratorio Il trionfo del tempo ( all from 1707 ).

it: Se scappi ti sposo

) Proposed alternative names such as Mitian, formed from the characteristic Nostratic first-and second-person pronouns mi ' I ' and ti ' you ' ( exactly ' thou '), have not attained the same currency.

The seven syllables commonly used for this practice in English-speaking countries are: do ( or doh in tonic sol-fa ), re, mi, fa, sol ( so in tonic sol-fa ), la, and ti / si.

Saint-Omer has also some older speakers of Picard or Ch ' ti ( mi ) who are organizing to preserve the language.

Such systems use as their syllables the note names " do, re, mi, fa, so, la, ti, do " familiar to most people.

* 3 ) High register from mi of the second octave to ti.

First in Zagreb with " Živiš u oblacima " followed by an appearance at the Festival of Patriotic Songs also in Zagreb where he performed " Druže Tito mi ti se kunemo ".

*" Druže Tito, mi ti se kunemo " / " Titovim putem " ( 1980 )

* Da ti kažem šta mi je ( To Tell You What I'm Going Through ) ( 1990 )

* Pelog Degung: da mi na ti la da 2 3 4 5 1, nearly corresponds to do si sol fa mi do 7 5 4 3 1 in the Western diatonic scale.

* Madenda or Sorog: da mi na ti la da 2 3 4 5 1, nearly similar to fa mi do si la fa 3 ’ 1 ’ 7 6 4 in the Western diatonic scale.

* Salendro: da mi na ti la da 2 3 4 5 1, nearly similar to re do la sol fa re 1 ’ 6 5 4 2 in the Western diatonic scale.

As a result, Milanese subject pronouns resemble Italian object and dative pronouns: mi ( Italian mi ), ti ( Italian ti ), lu ( Italian lui ), lee ( Italian lei ), numm ( Italian noi ), viálter ( Italian voi ), lór ( Italian loro ).

Chant does not rely on any absolute pitch or key ; the clefs are only to establish the half and whole steps of the solfage or hexachord scale: " do ", " re ", " mi ", " fa ", " sol ", " la "," ti ", " do " The clef bracketing a line indicates the location " do " in the case of the C clef, or " fa " in the case of the F clef as shown:

Most notes of the solfege scale ( do, re, mi, fa, so, la, ti ) derive their names from the first syllable of the lines of Ut queant laxis, a Latin hymn.

Side A concludes with " Sing a Simple Song ", which urges the audience to " sing a simple song " and " try a little do re mi fa so la ti do ".

The seven syllables normally used for this practice in English-speaking countries are: do, re, mi, fa, sol, la, and ti ( with a chromatic scale of ascending di, ri, fi, si, li and descending te, le, se, me, ra ).

* Sviđa mi se da ti ne bude prijatno ( 1983 )

* Eh, kad bi ti rekla mi volim te-1987

The signs hi, mi, yo, mu, shi, ku, ti ( chi ) are slight modifications of the numerals 1 hito, 3 mi, 4 yo, 6 mu, 7 shichi, 9 ku, 1000 ti.