metre au dessus du ciel

The Yuan Dynasty's rhyme system mainly consisted of four parts: rhyme, flat tone, antithesis and lining. ** 1. Rhyme ** 1. ** One rhyme to the end **: Only one rhyme can be used in Yuan Qis, and the rhyme cannot be changed in the middle. This is the same as rhythmic poems, but it is different from some Ci that can be changed. 2. ** Ping Ze Tong Yu **: Yuan Qu can be Ping Ze Tong Yu, but it must comply with the rules of the tune. The place where it should be used cannot be Ping, and vice versa. 3. [You can use heavy rhyme.] This was the difference between the rhyme of Yuan songs and poems. ** 2. Harmony ** 1. ** Sentences are basically rhythmic sentences **: Most of the sentences in Yuan Qü are rhythmic sentences, which require the level and tone to appear alternately in the sentence. 2. ** The requirements for the tones are stricter **: There is a clear distinction between the four tones. The upper tone and the lower tone cannot be mixed, and the flat tone and the flat tone cannot be mixed. This is stricter than the requirements for the tones in poetry. Because Yuan Qu is mainly used for singing, errors in the tones may lead to a "twisted voice". ** 3. Confrontation ** 1. ** Non-mandatory **: When the word count of the first and last sentences in Yuan Qü is the same, antithesis is usually used to enhance the artistic effect, but it is not mandatory. Different authors may use antithesis under the same tune, while others may not. ** 4. In terms of words ** 1. ** Comparatively Common **: The word 'lining' was a word added in addition to the number of words specified in the score. This was more common in Yuan Qü. Its purpose was to explain, make the meaning clearer, and enhance the artistic appeal. However, there was no such word in rhythmic poems, and the word 'lining' was not common in Ci tablets. In addition, Yuan Qü also had to avoid solitary flat, three-flat tail, three-flat tail, etc. Each tune had fixed format requirements in terms of sentence structure, word count, flat tone, etc. Although there was a fixed frame, there was a certain degree of flexibility. For example, it was allowed to add words in the fixed frame, some tunes could add sentences, and the rhyme was allowed to be flat tone. When verifying the Yuan Qu's rhythm, it was necessary to consider these aspects comprehensively and check whether the Yuan Qu works met the above requirements according to the specific rules of the tune.

Gundam Ecole du Ciel and Star Comics seem to be separate entities. There's no obvious connection between them. Star Comics might not be associated with the production, distribution, or licensing of Gundam Ecole du Ciel.

[Immortal Lü·Parasite Grass] was used as a small token and also entered [Shang Diao]. The rhythm is as follows: the first and last two sentences are right, and the middle three sentences must be right. The first two sentences are often changed into five-word or six-word bending sentences. The score is flat and flat (can be rhymed), flat and flat (rhymed).× Ping × Ze Ping A (rhyme), × Ping × Ze Ping A (rhyme), × Ping × Ze Ping A (rhyme).× Ping × Ze Ze Ping (Ke Yun), × Ping × Ze Ping Qu (Yun).

Northern Song [Zhonglu] is a formal style, eleven sentences, nine rhymes, or each sentence into the rhyme. The previous use of four-tone rhyme, must be removed. The seventh sentence can be flat or oblique rhyme, if oblique rhyme, must be on the rhyme. In the ninth sentence, the flat tone can also be used as the upper tone. The last four sentences can also be written as two four-sentence sentences, no need to add teasing. There are 11 sentences and 43 words, with nine rhymes, five zonal rhymes, two alliteration rhymes and two leaf rhymes. The fourth and fifth sentences were Ye Pingyun, and the ninth and eleventh sentences could also be Ye Pingyun. Southern Song [Shang Diao] is the formal style, eleven sentences, eleven rhymes. Variant, twelve sentences, ten rhymes. The structure of "Shanpo Yang" in the southern song was not as stable as that of "Zhonglu Shanpo Yang" in the northern song, which varied from nine to twelve sentences. It seemed that each sentence in the northern song had been expanded.

Linjiangxian's rhythm is flat rhyme, double-tone small order, the number of words has fifty-two words, fifty-four words, fifty-eight words, fifty-nine words, sixty words, sixty-two words six kinds. Common words are divided into two parts, the upper and lower parts of each five sentences, three flat rhyme. An example of its rhythm (taking Yang Shen's "Linjiang Immortal" as an example): Zhongze Zhongping Pingze, Zhongping Zhongze Pingping. (Rhyme) The middle is flat. (Rhyme) Medium flat and medium oblique, medium oblique and flat. (Rhyme) The middle tone is flat and the middle tone is flat. (Rhyme) The middle is flat. (Rhyme) Medium flat and medium oblique, medium oblique and flat. In addition, the first sentence of the upper and lower pieces cannot be written as a twisted sentence, that is, the two, four and six flat tones must be crossed, and the flat tones in He Zhu's words are appropriate.

Willow branch Ci card originally has Sui Qu, and Sui Di related. Its formal style is Qiyan style, monotonous twenty-eight words, flat rhyme, format is the same as seven-character quatrains. There are many kinds of Ci styles in this tune. In the Tang Dynasty and the Five Dynasties, the original meaning of singing willow branches was passed down to Kaiyuan. Bai Juyi's new song was no longer the old one.

There were four basic sentence patterns in the Seven Laws: Pingze Pingze (the last two words were Pingze, called Pingze foot); Ze Ze Pingze Pingze (the last two words were Ze Ping, called Zepingjiao); Ze Ze Pingze Pingze (the last two words were Ze Ze, called Zepingjiao); Ping Ze Ze Pingze (the last two words were Ze Ze, called Zepingjiao); Ping Ze Ze Pingze (the last two words were Ping Ping, called Pingpingjiao). Thus, there were four basic forms of seven-character poems: The first format: the first sentence begins with a rhyme The sky was flat, the sky was flat, the sky was flat. He was flat and flat, flat and flat. The sky was flat, the sky was flat, the sky was flat. He was flat and flat, flat and flat. The second format: the first sentence does not rhyme The sky was flat, the sky was flat, the sky was flat. He was flat and flat, flat and flat. The sky was flat, the sky was flat, the sky was flat. He was flat and flat, flat and flat. The third format: the first sentence of the zeppelin rhyme He's flat, he's flat, he's flat. The sky was flat, the sky was flat, the sky was flat. He was flat and flat, flat and flat. The sky was flat, the sky was flat, the sky was flat. The fourth format: the first sentence of the zeppelin does not rhyme He was flat and flat, flat and flat. The sky was flat, the sky was flat, the sky was flat. (0 means it can be leveled or leveled)

Zhonglu·Putian Music Xiaoling is used concurrently, and its music score and meter are: Ze Ping Ping, Ping Ping A (rhyme).× Ping × Ze, × Ze Ping (rhyme).× Ze Ping, Ping Ze (rhyme).× Ze Ping Ping A (rhyme), Ze Ping Ping, × Ze Ping Ping (rhyme).×× Ze Ping (top), × Ping ××, × Ze Ping Ping (rhyme). Among them,"A" should go up.

The fixed format of Putian Music was eleven sentences and forty-six words (excluding the words on the back). The basic sentence patterns were: three, three, four, four, three, three, seven, seven, four, four, four. The second, sixth, and seventh sentences were marked with the sound rhyme (the second and seventh sentences were marked with the sound rhyme), and the fourth, eighth, and eleventh sentences were marked with the sound rhyme. There are many other styles and words in this tune. The north and south songs belong to different palace tunes. The north song belongs to the Zhonglu Palace, and the south song belongs to the Zhenggong Palace, which can be sung into the word.

With Yin E's "Bobozi·Wind Cut" as the main body, the double-tone sixty-one words, the first five sentences of five oblique rhymes, the latter four sentences of four oblique rhymes. There are also sixty-one double-tone words, the first five sentences have two leaf rhyme, two alliteration rhyme, one oblique rhyme, the second five sentences have five oblique rhyme; There are sixty-two double-tone words, the first seven sentences have three oblique rhyme, and the second six sentences have three oblique rhyme variations.