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Related to GIMEL: daleth, Gmail
GIMELGroupe d'Interpretation de Musique Electroacoustique de Laval (French)
References in periodicals archive ?
Rakesh Wahi said: "The GIMEL team showed character, resolve and resilience of the highest order.
5, the suggested reading [TEXT NOT REPRODUCIBLE IN ASCII] is mistaken since the last letter is not qof, but a final nun, preceded by the lower part of the gimel.
126) Aleph (GAEL, 31) is the top half of the Hebrew letter and means "in the beginning with God, the son, or first born"; Ba eth (GAEL, 27) is somewhat stylized but recognizable as beth, while the glyph named Beth (GAEL, 23) is a hatched single line meaning "residence"; Gah mol (GAEL, 33) appears to be gimel laid on its side and refers to a "situation.
Ha-knesiah Ha-rishonah met from alef to gimel Elul 5663 (August 23-25 1903).
A Taibeh player commented later: "On our way, we ran into the first group of Beitar fans, those from Ramat-Aviv Gimel [a prosperous neighbourhood in TelAviv].
Markers of listing be shtey `in two' be exad `in one' shtayim `two' bet `b' gimel `c' (she) kodem kol `first of all' ba hemshex `following' 5.
realization of duality in Beth, and Gimel as the hieroglyph of rebirth into a new order of time: "MacAuliffe.
1457, Actuarial Values, Book Aleph, 1458, Actuarial Values, Book Beth and 1459, Actuarial Values, Book Gimel, it is generally simpler to use a commercial software package for the calculations.
30,5: aleph interpretatur 'doctrina', beth 'domus', gimel 'plenitudo', daleth 'tabularum', he 'ista', uau 'et', zai 'haec', heth 'uita', teth 'bonum', iod 'principium', caph 'manus', lamed 'disciplinae' siue 'cordis', mem 'ex ipsis', nun 'sempiternum', samech 'adiutorium', ain 'fons' siue 'oculus', phe 'os' [.
The Tallis Scholars are no strangers to eccentric decisions in the matter of tempo (one remembers the Agnus III of Josquin's Mass L'homme arme sexti toni, Gimel CDGIM 019); but, having listened to this recording many times, I am still unable to grasp the motivation for such a slow performance.
Indeed, I am altogether unhappy about deducing much from Tudor scoring, partly because of the difficulty of establishing the norm (it seems to have become six parts during the 1520s given that Fayrfax never uses six while Ludford and Taverner both do), partly because the use of gimel makes it difficult to establish how many voices a piece is really in (an interesting case is Taverner's Mass O Michael, which is in six parts except for the final passage of the Agnus Dei, where a gimel produces seven real voices), and partly because of the English liking for rich vocal sound, which could have provided just as good a reason for a larger choral force as any symbolic reason.