text:
Wikijunior:Gramma's Grammar/Parts of a Sentence

 * Subjects The Subject does the action.
 * Predicates The Predicate is the action!


text:
Wikijunior:Gramma's Grammar/Sentence Diagrams

 * Let’s make your very first sentence diagram! Come on. Gramma’s watching you!
 * Now, include an adjective! Wow, this is kind of fun!

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/


text:
Wikijunior:Gramma's Grammar/Sentence Diagrams/Making a Simple Sentence Diagram

Making a simple sentence diagram is very easy! Let’s get started right now.

First, draw a base line:

Then, cross the base line with another line:

We will draw the sentence diagram on top of these lines. Are you ready?

Let’s use a simple sentence:

Marta plays.

This sentence has two parts: “Marta” and “plays”.

Write “Marta” on the first part of the base line, and “plays” on the second part.

In this sentence, “Marta” is the subject. In sentence diagrams, we write the subject on the first part of the line.

“Plays” is the predicate. We write predicates on the second part of the line.

Later, we will see how to diagram longer sentences.


text:
Wikijunior:Gramma's Grammar/Let’s Go Grammar!

Grammar is fun!
Grammar tells how we use words to talk and write to one another.

We learn about grammar so we can understand other people, and so other people can understand us!

We use grammar every day, all of the time. We usually do not realize that we are using it.

Remember, grammar is fun, and learning about grammar is fun, too! No language is without grammar. Every language has grammar rules to follow.


text:
Cookbook:Frikadeller (Danish Meatballs)

| Danish Cuisine

Frikadeller are as Danish as the Dannebrog. This is standard Danish fare, made of ground pork and veal and traditionally served with boiled potatoes, gravy and rødkål (braised red cabbage). Originally, this dish was made so that the meat would feed more people, and thus, the possibilities as to what can be added are numerous.

Ingredients

 * 250 grams (about 0.5 lb) ground veal
 * 250 grams ground pork
 * 1 large egg
 * 1 onion, finely chopped
 * 20% by volume (about ¾ cup) of bread crumbs
 * Pepper to taste
 * Salt to taste
 * Minced garlic (optional)
 * Ground parsley to taste
 * Butter

Procedure

 * 1) Mix all ingredients except butter together.
 * 2) Shape mixture into small patties.
 * 3) Fry in hot skillet with lots of butter.

Notes, tips, and variations

 * These can be frozen and reheated.
 * You can substitute bread crumbs with wheat germ and/or oat bran.
 * Any ingredient will work. Many people add a quantity of milk also, and the mixture is then thickened again with more flour, bread crumbs and/or oat bran.

title: Cookbook:Frikadeller (Danish Meatballs)


text:
Spanish/Vocabulary/Food

= La Comida =

Verbos/ Verbs

 *  comer:  to eat, to have a meal (any meal you eat)
 *  desayunar:  to have breakfast
 *  almorzar:  to have a lunch
 *  merendar:  similar to tea time in england, it is something light before supper, usually coffee and bread
 * cenar: to have supper, to have dinner
 * cocinar: to cook
 * beber: to drink
 * tomar: to have (food or drink), to take (in)
 * guisar: to stew
 * congelar: to freeze
 * añadir: to add
 * picar: to dice
 * cortar: to cut

Sustantivos

 * la comida: the food, the meal
 * la bebida: the drink
 * el desayuno: the breakfast
 * el almuerzo: the lunch
 * la merienda: the small brunch you take before having supper
 * la cena: the dinner, the supper
 * el plato fuerte: the main dish
 * el postre: the dessert

La Carne

 * la res: beef
 * el pollo: chicken ( younger chicken)
 * la gallina: chicken (mature chicken)
 * el cordero: lamb
 * la barbacoa: grilled
 * el cerdo: pork
 * el perrito caliente: hot dog
 * el jamón: ham
 * la hamburguesa: hamburger
 * el tocino: bacon
 * el pescado: fish (cooked, if it is still alive it is el pez)
 * los mariscos: shellfish
 * las almejas: clams
 * la langosta: lobster
 * el atún: tuna
 * las cigalas: crayfish
 * los camarones: shrimps
 * el embutido: sausage

Las Verduras

 * la zanahoria: carrot
 * la lechuga: lettuce
 * el tomate: tomato (technically fruit)
 * el maíz: corn
 * la papa/la patata: potato
 * las papas/patatas fritas: french fries
 * el brocoli: broccoli
 * la espinaca: spinach
 * la cebolla: onion
 * el repollo: cabbage
 * la ensalada: salad
 * la aceituna: olive
 *  las calabacitas: squash
 * el hongo:  mushroom
 * el pepino: cucumber (technically fruit)
 * el ají: chili pepper (technically fruit)

Las Frutas

 * (1-42) la fruta: fruit

 * (1) la manzana: apple
 * (2) la pera: pear
 * (3) el níspero del Japón: loquat

 * (4) el durazno: peach
 * (5) la ciruela: plum
 * (6) el damasco / el albaricoque: apricot
 * (7) la cereza: cherry

 * (8) la fresa: strawberry
 * (9) la frambuesa: raspberry
 * (10) la zarzamora: blackberry
 * (11) el arándano: blueberry
 * (12) el arándano rojo: cranberry

 * (13) el melón: melon
 * (14) la sandía: watermelon

 * (15) la naranja: orange
 * (16) la mandarina: tangerine
 * (17) la toronja: grapefruit
 * (18) el limón: lemon
 * (19) la lima: lime
 * (20) la naranja china: kumquat

 * (21) las uvas: grapes
 * (22) el dátil: dates
 * (23) la granada: pomegranate
 * (24) el higo: fig
 * (25) la oliva: olive

 * (26) el plátano: banana
 * (27) la piña: pineapple
 * (28) el coco: coconut
 * (29) el mango: mango
 * (30) la papaya: papaya

 * (31) el chirimoyo: cherimoya
 * (32) el níspero: sapodilla
 * (33) el rambután: rambutan
 * (34) el tamarindo: tamarind
 * (35) el mangostino: mangosteen
 * (36) el carambolo: starfruit

 * (37) la guayaba: guava
 * (38) el kiwi: kiwifruit
 * (39) el maracuyá: passionfruit
 * (40) el lichi: lychee
 * (41) el longan: longan
 * (42) el durián: durian

Las Bebidas

 * la cerveza: beer
 * el refresco: pop, soft drink
 * el té: tea
 * el té helado: iced tea
 * el café: coffee
 * la leche: milk
 * el agua: water
 * el jugo: juice
 * el batido: milkshake

Los Postres

 * El Chocolate: chocolate
 * Los Dulces: candy
 * El Pastel: cake
 * Las Galletas: cookies
 * El Helado: ice cream
 * El Churros con chocolate: chocolate churros
 * El Basque Cheesecake: Cheesecake

Las Salsas

 * la salsa: sauce
 * la mostaza: mustard
 * la mayonesa: mayonnaise
 * el aceite: oil
 * el azúcar: sugar
 * las especias: spices

platos

 * el plato plate: plate
 * el plato hondo: bowl
 * el vaso/la copa: glass/cup
 * el tenedor: fork
 * la cuchara: spoon
 * el cuchillo: knife
 * la servilleta: napkin

title: Spanish/Vocabulary/Food


text:
Trigonometry/Trigonometric Form of the Complex Number

$$z=a+bi= r \left ( \cos \phi \ + i\sin \phi \right )$$

where
 * i is the imaginary number $$\left (i\ = \sqrt{-1}\right )$$
 * the modulus $$r=\operatorname{mod}(z)=|z|=\sqrt{a^2+b^2}$$
 * the argument $$\phi=\arg(z)$$ is the angle formed by the complex number on a polar graph with one real axis and one imaginary axis. This can be found using the right angle trigonometry for the trigonometric functions.

This is sometimes abbreviated as $$r\left ( \cos \phi \ + i\sin \phi \right )=r\operatorname{cis}\phi$$ and it is also the case that $$r\operatorname{cis}\phi=re^{i\phi}$$ (provided that $$\phi$$ is in radians). The latter identity is called Euler's formula.

Euler's formula can be used to prove DeMoivre's formula: $$( \cos \phi \ + i\sin \phi )^n=\cos(n\phi)+i\sin(n\phi).$$  This formula is valid for all values of n, real or complex.


text:
Talk:Trigonometry/Trigonometric Form of the Complex Number

added this section. i would suggest further elaboration of how to use right triangle trig. adios.--El Slameron 02:30, 7 May 2005 (UTC)

Robinson0120 Nice. I'm surprised this was done so long ago; after I finish linking these pages I'll add a few things to this section.


text:
Tablature

Tablature (or tabs for short) is a way of notating music in a way that is easy to understand and easy to notate in digital form. Tablature is most common for guitar, bass (guitar), and drums, though tablature may exist for other instruments. One advantage of tablature is that it does not require the reader to be able to read standard music notation. There are, however, some pitfalls to tablature notation. For guitar, it doesn't usually show the rhythm or fingering of the song. So in order to be able to play a piece of music from tablature, it is essential to have heard the song before and be reasonably familiar with it.

Notation
Tablature is written on lined paper similar to normal music paper (called a music staff). For guitar, each line corresponds to a string; thus there are 6 lines (4 for bass). Numbers are used to indicate which string to pick and which fret to stop. For example: e|-0---0---0---0- B|--- G|--- D|--- A|--- E|--- Means you pluck the top E string 4 times on the open string.

Tablature by Instrument

 * Bass tabs
 * Drum tabs
 * Guitar tabs
 * Keyboard tabs

title: Tablature


text:
Talk:Tablature

redirect for now. hopefully a mod will make it vice versa. 69.42.5.52 02:52, 7 May 2005 (UTC)
 * Ok, I copied the drum tabs over to this page, they're (hopefully) a bit more organized now. --Njk 09:21, 7 May 2005 (UTC)

Apparently there was a WikiCities project on tablature but it was shut down due to copyright violation. See the talk page here: http://www.wikicities.com/wiki/Talk:Tablature So maybe we shouldn't include any copyrighted examples? --Njk 14:12, 7 May 2005 (UTC)

There is a wiki for tab if your looking to post tableture in the wiki format or looking for more tabs to add to wiki books tabwiki.com --24.141.248.106 16:18, 17 July 2005 (UTC)

Discussion From Talk:Tabs
Could this be renamed as Tablature? I wasn't clear as to what this book was about until I clicked on it. I was pleasantly surprised though, I'd love to help out with this. -Njk 17:54, 5 May 2005 (UTC)
 * Sure, I think that would be a good idea. 69.42.5.52 02:45, 7 May 2005 (UTC)

Copyright issues
I used to have a Tablature site at Wikicities but it was taken down due to copyright infringement - making tabs is supposedly breaking copyright. I think that http://tabwiki.com is doing a fine job at the moment and more effort doesn't need to put into making pretty much exactly the same site. Especially since in the future the Administrators at Wikibooks may take down this section. Jack 11.23, 7 May 2005 (GMT)

Tab Wiki
I don't see why this module is needed, another tableture wiki already exists (www.tabwiki.com) which has a much larger tab selection on it. This might just be because I contribute to tabwiki but I just see a Tableture Module on WikiBooks as being redundant.  PS. If any one wants to help out over at tabwiki we're always looking for more contributors :)  --Diploid 16:30, 29 August 2005 (UTC)

title: Talk:Tablature


text:
Cookbook:Cranberry

The cranberry is a small sour fruit. It comes in several varieties, which range across northern America, Europe, and Asia.

Characteristics
Cranberries are small, red, and quite tart once fully ripened. They should be shiny and plump and range in color from bright light red to dark red. They are firm, containing edible seeds and a large amount of air. Cranberries are available fresh or dried, and the dried berries are often pre-sweetened with sugar.

Seasonality
Cranberries are, for the most part, only grown in the northern hemisphere. The primary harvesting season is October through December, and they are available in various preserved forms throughout the rest of the year.

Selection and storage
Ripe cranberries will bounce if they are in good condition. Shriveled berries or those with brown spots should be avoided. Store fresh cranberries in the refrigerator, where they can last for several weeks. As with all berries, if one starts getting soft and decaying, the others will quickly soften and decay also. Be sure to sort out the soft ones if you plan to store them for more than a few days. Cooked cranberries can last up to a month in a covered container in the refrigerator. Washed cranberries may be frozen for up to 1 year in airtight containers. Dried cranberries have a very long shelf life of several months at room temperature.

Use
Due to their extreme tartness, cranberries are rarely eaten on their own. Instead, they are often sweetened and processed into baked goods, juice, dried fruit, and a jam or jelly called cranberry sauce. They can also be candied to make a garnish, and they pair very well with deeply savory dishes, such as those with roasted meats.

No matter what preparation method you choose, cook cranberries only until they pop; overcooking gives them a bitter taste. Since cranberries are almost 90% water, do not thaw frozen cranberries before cooking them. Thawing will cause the fruit to break down, resulting in soft berries. Cranberries may be baked with a sweetener to make a topping or sauce. They are also good chopped with oranges to make a relish.

title: Cookbook:Cranberry


text:
Tablature/Drums

Drum Tabs

How to read drum tabs: C - Crash cymbal C1 - Crash cymbal 1 C2 - Crash cymbal 2 C3 - Crash cymbal 3 R - Ride cymbal Rd - Ride cymbal H - Hihat HH - open hihat HF - closed hihat TT - Tom T - Low Tom t - High Tom B - Bass drum BD - Bass drum S - Snare drum SD - Snare drum

No good music Hot Water Music:
 * Trademark

L
Less Than Jake:
 * 3 Quartz Drunk
 * Anchor
 * Great American Sharpshooter
 * Help Save the Youth of America From Exploding
 * Look What Happened

P
Propagandhi:
 * Nailing Descartes to the Wall / (Liquid) Meat is Still Murder

title: Tablature/Drums


text:
Tablature/Drums/Hot Water Music - Trademark

<< Drum tabs

Hot Water Music - Trademark bass intro.......................................... C||||X---| H||||--xx| S||||--f-oo--| B||||oo--| |1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|

C|X---|||| H|--X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-| T||||-oo-| t||||---o| S|o---o---|o---o---|o---o---|oo--o---| B|o-oo-o--|o--o-oo--o-o|o--o---o-o--|o--o---o---o| |1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|

<< Drum tabs


text:
Tablature/Drums/Less Than Jake - 3 Quartz Drunk

<< Drum tabs

Less Than Jake - 3 Quartz Drunk

Bass/Horn Intro |---x4| SD||| BD||| Intro SD||--xx-x-x-x-x| BD||| Verse 1 HH|x---x---x---x---x---x---x---x---|x---x---x---x---x---x---x---x---| SD|x---x---|x---x---| BD|0---0---0---0---|0---0---0---0---| HH|x---x---x---x---x---x---x---x---|x---x---x---x---x---x---x---x---| SD|x---x---|x---x---x---| BD|0---0---0---0---|0---0---0---0---| Pre-Chorus 1 CC|x---|| RC|x---x---x---x---x---x---x---|x---x---x---x---x---x---x---x---| SD|x---x---|x---x-x-| BD|0---0---0---0---|0---0---0---0---| Verse 2 HH|x---x---x---x---x---x---x---x---|x---x---x---x---x---x---x---x---| SD|x---x---|x---x---| BD|0---0---0---0---|0---0---0---0---| HH|x---x---x---x---x---x---x---x---|x---x---x---x---x---x---x---x---| SD|x---x---|x---x---| BD|0---0---0---0---|0---0---0---0---| Pre-Chorus 2 CC|X---|| RC|x---x---x---x---x---x---x---|x---x---x---x---| T1||-x-x| SD|x---x---|x--x-x-x-x-x-x-x| BD|0---0---0---0---|0---0---| Chorus 1 CC|X---|| HH|X---X---X---X---X---X---X---|X---X---X---X---X---X---X---X---| SD|x---x---|x---x---| BD|0---0---0---0---|0---0---0---0---| HH|X---X---X---X---X---X---X---X---|X---X---X---X---X---X---X---X---| SD|x---x---|x---x-g-| BD|0---0---0---0---|0---0---0---0---| HH|X---X---X---X---X---X---X---X---|X---X---X---X---X---X---X---X---| SD|x---x---|x---x---| BD|0---0---0---0---|0---0---0---0---| HH|X---X---X---X---X---X---X---X---|X---X---X---X---| T1|--x-x| SD|x---x---|x--x-x-x-x-x-x-x| BD|0---0---0---0---|0---0---| Verse 3 CC|X---|| HH|x---x---x---x---x---x---x---|x---x---x---x---x---x---x---x---| SD|x---x---|x---x---| BD|0---0---0---0---|0---0---0---0---| HH|x---x---x---x---x---x---x---x---|x---x---x---x---x---x---x---x---| SD|x---x---|x---x---x---| BD|0---0---0---0---|0---0---0---0---| Prechorus 3 CC|X---|| RC|x---x---xx---x---x---x--|x---x---x---x---| T1||-x-x| SD|x-x--x--|x--x-x-x-x-x-x-x| BD|0---00---0--|0---0---| Verse 4 CC|X---|| HH|x---x---x---x---x---x---x---|x---x---x---x---x---x---x---x---| SD|x---x---|x---x---x---| BD|0---0---0---0---|0---0---0---0---| HH|x---x---x---x---x---x---x---x---|x---x---x---x---x---x---x---x---| SD|x---x---|x---x---x---| T3||| BD|0---0---0---0---|0---0---0---0---| Prechorus 4 CC|X---|| RC|x---x---x---x---x---x---x---|x---x---x---x---| T1||-x-x| SD|x---x---|x--x-x-x-x-x-x-x| BD|0---0---0---0---|0---0---| Chorus 4 CC|X---|| HH|X---X---X---X---X---X---X---|X---X---X---X---X---X---X---X---| SD|x---x---|x---x---| BD|0---0---0---0---|0---0---0---0---| HH|X---X---X---X---X---X---X---X---|X---X---X---X---X---X---X---X---| SD|x---x---|x---x-g-| BD|0---0---0---0---|0---0---0---0---| HH|X---X---X---X---X---X---X---X---|X---X---X---X---X---X---X---X---| SD|x---x---|x---x---| BD|0---0---0---0---|0---0---0---0---| HH|X---X---X---X---X---X---X---X---|X---X---X---X---X---X---X---| SD|x---x---|x---f---| BD|0---0---0---0---|0---0---0---0---0---| Outro CC|X---|| HH|X---X---X---X---X---X---X---|X---X---X---X---X---X---X---X---| SD|x---x---x---x---|x---x---x---x---| BD|0---0---0---0---|0---0---0---0---| HH|X---X---X---X---X---X---X---X---|X---X---X---X---X---X---X---X---| SD|x---x---x---x---|x---x---x---x---| BD|0---0---0---0---|0---0---0---0---| HH|X---X---X---X---X---X---X---X---|X---X---X---X---X---X---X---X---| SD|x---x---x---x---|x---x---x---x---| BD|0---0---0---0---|0---0---0---0---| HH|X---X---X---X---X---X---X---X---|X---X---X---X---X---X---X---X---| SD|x---x---x---x---|x---x---x---x---| BD|0---0---0---0---|0---0---0---0---| CC|#---| HH|X---X---X---X---X---X---| SD|x---x---x---| BD|0---0---0---0---|

<< Drum tabs


text:
Tablature/Drums/Less Than Jake - Anchor

<< Drum tabs

Less Than Jake - Anchor CC|X---|| SD||f---| BD|0---|| CC|X---|| RC||| HH|o---o---o---o---o---o---o---|o---o---o---o---o---o---o---o---| SD|x---x---x---x---|x---x---x---x---| BD|0---0---0---0-0-|0-0-0-0-0-0-0-0-| CC|X---|| RC|x---x---x---x---x---x---x---|x---x---x---x---x---x---x---x---| SD|x---x---x---x---|x---x---x---x---| BD|0---0---0---0---|0---0---0---0---| CC|X---|#---X---| RC|x---x---x---|| HH||o---o---o---| SD|x---x---|x---x---| BD|0---0---|0---0---0---| HH|o---o---o---o---o---o---o---o---|o---o---o---o---o---o---o---o---| SD|x---x---x---x---|x---x---x---x---| BD|0---0-0-0-0-0-0-|0-0-0-0-0-0-0-0-| HH|o---o---o---o---o---o---o---o---|o---o---o---o---| SD|x---x---x---x---x---x---|x---x---x---x---x-x-x-x-x-x-x-x-| BD|0-0-0-0-|0---0---0---0---| RC|x---x---x---x---x---x---x---|x---x---x---x---x---x---x---x---| SD|x---x---x---x---|x---x---x---x---| BD|0---0---0---0---|0---0---0---0---| CC||X---X---X---| RC|x---x---x---x---x---x---x---x---|X---| SD|x---x---x---x---|| BD|0---0---0---0---|0---0---0---|

<< Drum tabs

title: Tablature/Drums/Less Than Jake - Anchor


text:
Tablature/Drums/Less Than Jake - Great American Sharpshooter

<< Drum tabs

Less Than Jake - Great American Sharpshooter Intro/Verse 1 C||X-X-| B||o-o-| Verse 1 C|X---|| R||| H|--x-x-x-x-x-x-x-|x-x-x-x-x-x-x-x-| S|--o---o---o---o-|--o---o---o---o-| B|o---oo--oo--oo--|oo--oo--oo--oo--| Pre-Chorus C|X-X-|||| R|x-x-x-x-x-x-|x-x-x-x-x-x-x-x-|x-x-x-x-x-x-x-x-|x-x-x-x-| S|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-|--o---o---f-| F||||o-o-o---| B|o---oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--|oo--oo--o-o-o-o-| Chorus C|X---|||| H|--o-o-o-o-o-o-o-|o-o-o-o-o-o-o-o-|o-o-o-o-o-o-o-o-|o-o-o-o-o-o-o-o-| S|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-| B|o---oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--| Verse 2 C|X---|||| T|--o---o-|--o---o-|--o---o-|--o---o-| S|--o---o-|--o---o-|--o---o-|--o---o-| F|--o---o-|--o---o-|--o---o-|--o---o-| B|o---oo--o---oo--|oo--oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--| Pre-Chorus C|X-X-|||| R|x-x-x-x-x-x-|x-x-x-x-x-x-x-x-|x-x-x-x-x-x-x-x-|x-x-x-x-| S|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-|--o---o---f-| F||||o-o-o---| B|o---oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--|oo--oo--o-o-o-o-| Chorus C|X---|||| H|--o-o-o-o-o-o-o-|o-o-o-o-o-o-o-o-|o-o-o-o-o-o-o-o-|o-o-o-o-o-o-o-o-| S|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-| B|o---oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--| Solo						Crescendo on Hats H|o-o-f---||x-x-x-x-x-x-x-x-|x-x-x-x-x-x-x---| S||||--f-| B|o-o-o-o-o-o-o-o-|o-o-o-o-o-o-o-o-|o-o-o-o-o-o-o-o-|o-o-o-o-o-o-o-o-| Final Chorus C|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-| S|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-| B|o---oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--| Outro C|X---X---X---|| B|o---o---o---||

<< Drum tabs


text:
Tablature/Drums/Less Than Jake - Help Save the Youth of America From Exploding

<< Drum tabs

Less Than Jake - Help Save the Youth of America From Exploding Intro Getting Lost.... || F|o-o-o-o-o-o-o-o-|o-o-o-o-o-o-o-o-|o-o-o-o-o-o-o-o-|o-o-o-o-o-o-o-o-| S|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-| B|o---oo--o---oo--|o---oo--o---oo--|o---oo--o---oo--|o---oo--o---oo--| |1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a| Guitar picking starts F|o-o-o-o-o-o-o-o-|o-o-o-o-o-o-o-o-|o-o-o-o-o-o-o-o-|o-o-o-o-| S|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-|--o---o-oooooooo| B|o---oo--o---oo--|o---oo--o---oo--|oo--o---oo--o---|oo--oo--| |1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a| Verse C|X---|||| H|--x-x-x-x-x-x-x-|x-x-x-x-x-x-x-x-|x-x-x-x-x-x-x-x-|x-x-x-x-x-x-x-x-| S|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-| B|o---oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--| |1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a| Crescendo H|x-x-x-x-x-x-x-x-|x-x-x-x-x-x-x-x-|x-x-x-x-x-x-x-x-|x-x-x-x-X-X-X-X-| S|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-| B|oo--oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--| |1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a| Prechorus Cigeratte that i just lit... C|X---|||| R|--x-x-x-x-x-x-x-|x-x-x-x-x-x-x-x-|x-x-x-x-x-x-x-x-|x-x-x-x-x-x-x-x-| S|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-| B|o---oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--| |1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a| World just seems to big... C|||X---X---X---|X---X---X---| R|x-x-x-x-x-x-x-x-|x-x-x-x-x-x-x-x-||| S|--o---o---o---o-|--o---o---o---o-||--oooooo| B|oo--oo--oo--oo--|oo--oo--oo--oo--|o---o---o---|o---o---o---| |1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a| Chorus C|X---|||| H|--X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-| S|o---o---|o---o---|o---o---|o---o---| B|o---o-o-|o-o-o-o-|o-o-o-o-|o-o-o-o-| |1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a| C||||| H|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-|X-X-X-X-| F||||o-o-o-o-| S|o---o---|o---o---|o---o---|o---| B|o-o-o-o-|o-o-o-o-|o-o-o-o-|o-o-| |1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a| Postchorus F|o-o-o-o-o-o-o-o-|o-o-o-o-o-o-o-o-|o-o-o-o-o-o-o-o-|o-o-o-o-| S|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-|--o---o-oooooooo| B|o---oo--o---oo--|o---oo--o---oo--|oo--o---oo--o---|oo--oo--| |1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a| Verse C|X---|||| H|--x-x-x-x-x-x-x-|x-x-x-x-x-x-x-x-|x-x-x-x-x-x-x-x-|x-x-x-x-x-x-x-x-| S|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-| B|o---oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--| |1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a| Crescendo H|x-x-x-x-x-x-x-x-|x-x-x-x-x-x-x-x-|x-x-x-x-x-x-x-x-|x-x-x-x-X-X-X-X-| S|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-| B|oo--oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--| |1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a| Prechorus Cigeratte that i just lit... C|X---|||| R|--x-x-x-x-x-x-x-|x-x-x-x-x-x-x-x-|x-x-x-x-x-x-x-x-|x-x-x-x-x-x-x-x-| S|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-| B|o---oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--| |1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a| World just seems to big... C|||X---X---X---|X---X---X---| R|x-x-x-x-x-x-x-x-|x-x-x-x-x-x-x-x-||| S|--o---o---o---o-|--o---o---o---o-||--oooooo| B|oo--oo--oo--oo--|oo--oo--oo--oo--|o---o---o---|o---o---o---| |1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a| Chorus C|X---|||| H|--X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-| S|o---o---|o---o---|o---o---|o---o---| B|o---o-o-|o-o-o-o-|o-o-o-o-|o-o-o-o-| |1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a| C||||| H|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-|X-X-X-X-| F||||o-o-o-o-| S|o---o---|o---o---|o---o---|o---| B|o-o-o-o-|o-o-o-o-|o-o-o-o-|o-o-| |1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a| Bridge C|X---|||| H|--X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-| S|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-| B|o---oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--| |1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a| H|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-| S|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-| B|oo--oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--| |1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a| C||X-X-X---||X---| H|X-X-X-X-X-X-X-X-|X-X-X-X-|X-X-X-X-X-X-X-X-|X-X-X-X---X-X-X-| S|--o---o---o---o-|o-o-o---o---|o---o---|o-o-o---o---| B|oo--oo--oo--oo--|o---|o-o-o-o-|o---| |1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a| H|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-| F||||| S|o---o---|o-o-o---o---|o---o---|o-o-o---o---| B|o-o-o-o-|o---|o-o-o-o-|o---| |1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a| C|X---|||| H||||X-X-X-X-| F|o-o-o-o-o-o-o-o-|oo--||| S|--o---o---o---o-|||--o-| B|o---oo--oo--oo--|oo--||| |1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a| C|X---|||| H|--X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-|X-X-X-X-| F||||o-o-o-o-| S|o---o---|o---o---|o---o---|o---| B|o---o-o-|o-o-o-o-|o-o-o-o-|o-o-| |1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a| C|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-| S|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-| B|o---oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--| |1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a| C|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-|X-X-X-X-X-X-X-X-| S|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-|--o---o---o---o-| B|oo--oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--|oo--oo--oo--oo--| |1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a|1e&a2e&a3e&a4e&a| C|#---| B|o---| |1e&a2e&a3e&a4e&a|

<< Drum tabs


text:
Tablature/Drums/Less Than Jake - Look What Happened

<< Drum tabs

Less Than Jake - Look What Happened Intro C1|X---||X---|| HH|--X-X-X-X-X-|X-X-X-X-X-X-X-X-|--X-X-X-X-X-|X-X-X-X-X-X-X-X-| SD|o---o---|o--r-o--o---|o---o---|o--r-o--o---| FT|oo--||oo--|| BD|oo-oo-o-|oo-oo--o--o-|oo-oo-o-|oo-oo--o--o-| C1|X---|--X---X-||| HH|--X-X-X-X-X-|X-X-X-X-X---X---|X---X---X---X---|X---X---X---X---| SD|o---o---|o-o---o-|o---o---|o---o---| FT|oo--|||| BD|oo-oo-o-|oo-ooo--oo--|o---o-o-|o---o-o-| HH|X---X---X---X---|X---X---X---X---| SD|o---o---|o---o---| BD|o---o-o-|o---o-o-| C1|X---|||| HH|x---x---x---|x---x---x---x---|x---x---x---x---|x---x---x---x---| SD|o---o---|o---o---|o---o---|o---o---| BD|o---o-o-|o---o-o-|o---o-o-|o---o-o-| HH|x---x---x---x---|x---x---x---x---|x---x---x---x---|x---x---x---X---| SD|o---o---|o---o---|o---o---|o---o---| BD|o---o-o-|o---o-o-|o---o-o-|o---o-o-| Verse 1 HH|x---x---x---x---|x---x---x---x---|x---x---x---x---|x---x---x---x---| SD|o---o---|o---o---|o---o---|o---o---| BD|o---o-o-|o---o-o-|o---o-o-|o-o-o-o-| HH|x---x---x---x---|x---x---x---x---|x---x---x---x---|x---x---x---x---| SD|o---o---|o---o---|o---o---|o---o---| BD|o---o-o-|o---o-o-|o---o-o-|o-o-o-o-| HH|x---x---x---x---|x---x---x---x---|x---x---x---x---|x---x---x---x---| SD|o---o---|o---o---|o---o---|o---o---| BD|o---o-o-|o---o-o-|o---o-o-|o-o-o-o-| Crescendo-> HH|x---x---x---x---|x---x---x---x---|x---x---x---x---|x---x---x---x---| SD|o---o---|o---o---|o---o---|o---o---| BD|o---o-o-|o---o-o-|o---o-o-|o-o-o-o-| Chorus C1|X---|||| RC|x---x---x---|x---x---x---x---|x---x---x---x---|x---x---x---x---| SD|o---o---|o---o---|o---o---|o---o---| BD|o---o-o-|--o-o-o-|o---o-o-|--o-o-o-| C1|X---X---|||| RC|x---x---|x---x---x---x---|x---x---x---x---|x---x---x---x---| SD|o---o---|o---o---|o---o---|o---o---| BD|o---o-o-|--o-o-o-|o---o-o-|--o-o-o-| C1|X---X---|||| RC|x---x---|x---x---x---x---|x---x---x---x---|x---x---x---x---| SD|o---o---|o---o---|o---o---|o---o---| BD|o---o-o-|--o-o-o-|o---o-o-|--o-o-o-| C1|X---X---|||| RC|x---x---|x---x---x---x---|x---x---x---x---|x---x---x---x---| SD|o---o---|o---o---|o---o---|o---o---| BD|o---o-o-|--o-o---|o---o-o-|--o-o-o-| Verse 2 C1|X---|||| HH|x---x---x---|x---x---x---x---|x---x---x---x---|x---x---x---x---| SD|o---o---|o---o---|o---o---|o---o---| BD|o---o-o-|o---o-o-|o---o-o-|o-o-o-o-| HH|x---x---x---x---|x---x---x---x---|x---x---x---x---|x---x---x---x---| SD|o---o---|o---o---|o---o---|o---o---| BD|o---o-o-|o---o-o-|o---o-o-|o-o-o-o-| HH|x---x---x---x---|x---x---x---x---|x---x---x---x---|x---x---x---x---| SD|o---o---|o---o---|o---o---|o---o---| BD|o---o-o-|o---o-o-|o---o-o-|o-o-o-o-| Crescendo HH|x---x---x---x---|x---x---x---x---|x---x---x---x---|x---x---x---x---| S1|o---o---|o---o---|o---o---|o---o---| BD|o---o-o-|o---o-o-|o-o-o-o-|o-o-o-o-| Chorus C1|X---|||| RC|x---x---x---|x---x---x---x---|x---x---x---x---|x---x---x---x---| SD|o---o---|o---o---|o---o---|o---o---| BD|o---o-o-|--o-o-o-|o---o-o-|--o-o-o-| C1|X---X---|||| RC|x---x---|x---x---x---x---|x---x---x---x---|x---x---x---x---| SD|o---o---|o---o---|o---o---|o---o---| BD|o---o-o-|--o-o-o-|o---o-o-|--o-o-o-| C1|X---X---|||| RC|x---x---|x---x---x---x---|x---x---x---x---|x---x---x---x---| SD|o---o---|o---o---|o---o---|o---o---| BD|o---o-o-|--o-o-o-|o---o-o-|--o-o-o-| C1|X---X---|||| RC|x---x---|x---x---x---x---|x---x---x---x---|x---x---x---x---| SD|o---o---|o---o---|o---o---|o---o---| BD|o---o-o-|--o-o-o-|o---o-o-|--o-o-o-| Bridge C1|X---|||| HG|--x-x-x-x-x-x-x-|x-x-x-x-x-x-x-x-|x-x-x-x-x-x-x-x-|x-x-x-x-x-x-x-x-| SD||||| BD|o---|o---|o---|o---| Crescendo C1||||| HH|x-x-x-x-x-x-x-x-|x-x-x-x-x-x-x-x-|x-x-x-x-x-x-x-x-|x-x-x-x-X---| SD||||f---| BD|o-o-|o-o-|o-o-|o-o-| Chorus C1|X---X---|||| RC|x---x---|x---x---x---x---|x---x---x---x---|x---x---x---x---| SD|o---o---|o---o---|o---o---|o---o---| BD|o---o-o-|--o-o-o-|o---o-o-|--o-o-o-| C1|X---X---|||| RC|x---x---|x---x---x---x---|x---x---x---x---|x---x---x---x---| SD|o---o---|o---o---|o---o---|o---o---| BD|o---o-o-|--o-o-o-|o---o-o-|--o-o-o-| C1|X---X---|||| RC|x---x---|x---x---x---x---|x---x---x---x---|x---x---x---x---| SD|o---o---|o---o---|o---o---|o---o---| BD|o---o-o-|--o-o-o-|o---o-o-|--o-o-o-| C1|X---X---|||| RC|x---x---|x---x---x---x---|x---x---x---x---|x---x---x---x---| SD|o---o---|o---o---|o---o---|o---o---| BD|o---o-o-|--o-o-o-|o---o-o-|--o-o-o-| Outro C1|X---X---X---X---|X---X---X---X---|X---X---X---X---|X---X---X---X---| SD|o---o---|o---o---|o---o---|o---o---| BD|o---o-o-|--o-o-o-|o---o-o-|--o-o-o-|

C1|X---X---X---X---|X---X---X---X---|X---X---X---X---|X---X---X---X---| SD|o---o---|o---o---|o---o---|o---o---| BD|o---o-o-|--o-o-o-|o---o-o-|--o-o-o-|

Ritard C1|X---||X---|--X-| HH|--X-X-X-X-X-|X-X-X-X-X-X-X-X-|--X-X-X-X-X-|X-X-X-X-| SD|o---o---|o--r-o--o---|o---o---|oo--| T1||||--ooo---| FT|oo--||oo--|-o--| BD|oo-oo-o-|oo-oo--o--o-|oo-oo-o-|o-o-o-o-|

<< Drum tabs


text:
Blender 3D: Noob to Pro/Fluffy Material

Spherical Blend Texture
This technique maps a spherical blend texture to the outsides of an object.

Create a new material and name it something intelligent. Create a new texture for this material, change the texture type to Blend, and then in the texture properties, change the blend shape to "Sphere".

Back in the material buttons, go the "MapInput" tab and change the texture coordinates to Blank-Blank-Z and Nor and as demonstrated in the next screenshot:

Finally go the "MapTop" tab, and depress the Emit button and set the Texture Blending Mode to "Add":

That's all there is to it, and here is how it looks:

Backlighting
This is a technique that a rather famous blender user called "@ndy" uses. Very simple and effective.

All you need to do is place a Hemi light BEHIND the object you want to light in respect to the active camera.

Breakdown: First add a Hemi lamp to your scene:

Next, Select the lamp THEN press and hold down the Shift key, and select the Camera. Press Control-C to bring up the copy attributes menu, and copy location AND rotation.

Now select JUST your lamp, press R to rotate it, then press the X key TWICE to rotate around the local X axis. Using your numpad, key in "180" to rotate the object 180Degrees.

All that remains to do is to press G to grab the lamp, then press Z TWICE to move along the local Z axis, and move the lamp until it is past and behind the object of interest. your resulting setup should look something like this:

And here is the rendered result:

 * Color ramp with input set to normal.

Pretty straighforward, but many advise against it.

 * Minnaert shader

Available in 2.37, "Darkness"<1 actually brightens edge. A cool shader, but not very useful for this purpose.

title: Blender 3D: Noob to Pro/Fluffy Material


text:
PHP Programming/DBAL

What is a database abstraction layer?
A (DBAL) is a couple of functions or a class which deals with every aspects of database handling.

First of all you have a function to connect and to disconnect to/from the database. You also have some functions to submit a query, and to get the results and finally you need to have some error-handling functions too.

Why to use a DBAL instead of the regular php functions?
Of course you do not replace the php-functions, you just connect them to get a better performance when you need to develop your code, validate the data, etc.

If you use a really flexible DBAL, then you do not need to change every line of your code if you switch from one database type to the other.

How to write a DBAL?
Most users should not be writing their own DBAL, since there are several ready-to-use open-source DBALs available. One of the benefits of a DBAL is to make code more reusable, and writing your own DBAL (unless it achieves wide acceptance in the PHP community) is counterproductive. The most common one is the PEAR:DB package which is already installed on the majority of web servers.

You can find some less sophisticated DBALs in the source files of some well written open-source CMS sites also.

title: PHP Programming/DBAL


text:
General Chemistry/Redox Reactions/Oxidation and Reduction equations

Redox
Redox reactions are chemical reactions in which elements are oxidized and reduced.

Specifically, at the most basic level one element gets oxidized by losing, or donating, electrons to the oxidizing agent. In doing so, the oxidizing agent gets reduced by accepting the electrons lost, or donated, by the reducing agent (i.e. the element getting oxidized).

If it seems as though there are two separate things going on here, you are correct: redox reactions can be split into two half-reactions, one dealing with oxidation, the other, reduction.

Mnemonic
Oil Rig

Oxidation Is Loss. Reduction Is Gain

Alternatively:

LEO GER

Lose Electrons Oxidation. Gain Electrons Reduction

Example
When the two half-reactions are summed, the result is:

$$\begin{align} \hbox{Fe} & \to \hbox{Fe}^{2+} + 2e^- \\ \hbox{Cu}^{2+} + 2e^- & \to \hbox{Cu} \\ \hline \hbox{Fe} + \hbox{Cu}^{2+} + 2e^- & \to \hbox{Cu} + \hbox{Fe}^{2+} + 2e^- \\ \end{align} $$

Balancing Redox Equations
In a redox reaction, all electrons must cancel out. If you are adding two half-reactions with unequal numbers of electrons, then the equations must be multiplied by a common denominator. This process is similar to balancing regular equations, but now you are trying to balance the electrons between two half-reactions.

Example
$$\begin{align} \hbox{Fe}^{2+} & \to \hbox{Fe}^{3+} + e^- \\ \hbox{H}_2\hbox{O}_2 + 2e^- & \to 2 \hbox{OH}^- \\ \hline \hbox{Fe}^{2+} + \hbox{H}_2\hbox{O}_2 + 2e^- & \to 2 \hbox{OH}^- + \hbox{Fe}^{3+} + e^- \\ \end{align} $$

The electrons don't completely cancel out. There is one electron more on the left. However, if you double all terms in the first half-reaction, then add it to the second half-reaction, the electrons will cancel out completely. That means the half-reactions for this redox reaction are actually:

$$\begin{align} 2\hbox{Fe}^{2+} & \to 2\hbox{Fe}^{3+} + 2e^- \\ \hbox{H}_2\hbox{O}_2 + 2e^- & \to 2 \hbox{OH}^- \\ \hline 2\hbox{Fe}^{2+} + \hbox{H}_2\hbox{O}_2 & \to 2 \hbox{OH}^- + 2\hbox{Fe}^{3+} \\ \end{align} $$

Balancing Redox Equations in an Acidic or Basic Solution
If a reaction occurs in an acidic or basic environment, the redox equation is balanced as follows:

If the reaction occurs in a basic environment, proceed as if it is in an acid environment, but, after step 4, for each hydrogen ion added, add a hydroxide ion to both sides of the equation. Then, combine the hydroxide ions and hydrogen ions to form water. Then, cancel all the water molecules that appear on both sides.


text:
General Chemistry/Redox Reactions/Oxidation state

Oxidation states are used to determine the degree of oxidation or reduction that an element has undergone when bonding. The oxidation state of a compound is the sum of the oxidation states of all atoms within the compound, which equals zero unless the compound is ionic.

The oxidation state of an atom within a molecule is the charge it would have if the bonding were completely ionic, even though covalent bonds do not actually result in charged ions.

Method of notation
Oxidation states are written above the element or group of elements that they belong to (when drawing the molecule), or written with roman numerals in parenthesis when naming the elements.

For single atoms or ions
Because oxidation numbers are just the sum of the electrons gained or lost, calculating them for single elements is easy.

Notice that the oxidation states of ionic compounds are simple to determine.

For larger molecules
Although covalent bonds do not result in charges, oxidation states are still useful. They label the hypothetical transfer of electrons if the substance were ionic. Determining the oxidation states of atoms in a covalent molecule is very important when analyzing "redox" reactions. When substances react, they may transfer electrons when they form the products, so comparing the oxidation states of the products and reactants allows us to keep track of the electrons.

Determining Oxidation States
The determination of oxidation states is based on knowing which elements can have only one oxidation state other than the elemental state and which elements are able to form more than one oxidation state other than the elemental state. Let's look at some of the "rules" for determining the oxidation states.

1.	The oxidation state of an element is always zero.

2.	For metals, the charge of the ion is the same as the oxidation state. The following metals form only one ion: Group IA, Group IIA, Group IIIA (except Tl), Zn2+, Cd2+.

3.	For monatomic anions and cations, the charge is the same as the oxidation state.

4.	Oxygen in a compound is −2, unless a peroxide is present. The oxidation state of oxygen in peroxide ion, O22− is −1.

5. For compounds containing polyatomic ions, use the overall charge of the polyatomic ion to determine the charge of the cation. Here is a convenient method for determining oxidation states. Basically, you treat the charges in the compound as a simple algebraic expression. For example, let's determine the oxidation states of the elements in the compound, KMnO4. Applying rule 2, we know that the oxidation state of potassium is +1. We will assign "x" to Mn for now, since manganese may be of several oxidation states. There are 4 oxygens at −2. The overall charge of the compound is zero: K Mn O4 +1 x 4(-2)

The algebraic expression generated is: 1 + x -8 = 0

Solving for x gives the oxidation state of manganese: x - 7 = 0 x = +7 K Mn O4 +1 +7 4(-2)

Suppose the species under consideration is a polyatomic ion. For example, what is the oxidation state of chromium in dichromate ion, (Cr2O72-)?

As before, assign the oxidation state for oxygen, which is known to be -2. Since the oxidation state for chromium is not known, and two chromium atoms are present, assign the algebraic value of 2x for chromium: Cr2 O7 2- 2x 7(-2)

Set up the algebraic equation to solve for x. Since the overall charge of the ion is -2, the expression is set equal to -2 rather than 0: 2x + 7(-2) = -2

Solve for x: 2x - 14 = -2 2x = 12 x = +6

Each chromium in the ion has an oxidation state of +6. Let's do one last example, where a polyatomic ion is involved. Suppose you need to find the oxidation state of all atoms in Fe2(CO3)3. Here two atoms, iron and carbon, have more than one possible oxidation state. What happens if you don't know the oxidation state of carbon in carbonate ion? In fact, knowledge of the oxidation state of carbon is unnecessary. What you need to know is the charge of carbonate ion (-2). Set up an algebraic expression while considering just the iron ion and the carbonate ion: Fe2 (CO3)3 2x 3(-2) 2x - 6 = 0 2x = 6 x = 3

Each iron ion in the compound has an oxidation state of +3. Next consider the carbonate ion independent of the iron(III) ion: C O3 2- x 3(-2) x - 6 = -2 x = +4

The oxidation state of carbon is +4 and each oxygen is -2.

Guidelines
Determining oxidation states is not always easy, but there are many guidelines that can help. This guidelines in this table are listed in order of importance. The highest oxidation state that any element can reach is +8 in XeO4.

In general, the more electronegative element has the negative number. Using a chart of electronegativities, you can determine the oxidation state of any atom within a compound.

Periodicity
Oxidation states are another periodic trend. They seem to repeat a pattern across each period.


text:
Blender 3D: Noob to Pro/Game Engine Basics

Purpose: To demonstrate the object collision feature of Blender's Game Engine.

Introduction to Object Collision
In this tutorial, you will learn the basics of object collision within the Blender Game Engine (BGE). These physics simulations can be used for many things, from Blender games to use in animations, the bullet physics engine offers a massive number of possibilities, limited only by your imagination (and the amount of RAM your computer possesses). The tutorials found within this wikibook on the subject of the BGE are generally focused on game creation, but the concepts taught within them can be applied to a multitude of situations.

With the mouse cursor over a 3D viewport, press NUMPAD-7 to switch to TOP view.

Press the spacebar and select Add >Mesh >Plane. Press TAB to leave edit mode and enter object mode.

Enlarge the plane by pressing S and dragging the mouse cursor away from the center of the plane. Click to stop re-sizing. The plane will serve as the 'floor'.

Add A UVSphere using the same sequence for adding the plane object. Press TAB to enter object mode.

With the mouse cursor over a 3D viewport, press NUMPAD 1 for Front view, then press G and move the sphere above the plane. Click to exit Grab Mode. You may need to scale the sphere down. It will be the ball which collides with the floor.

Go to logic panel (move cursor over Button Viewport and press F4).

Click on actor button (in the upper left corner of the logic panel), then Dynamic, then Rigid Body. This activates physics properties for the sphere so it can bounce.

Change the value of "Radius" to 2.0. Notice the dotted line that appears around the sphere. This dotted line marks how big the physics engine thinks this sphere is. For now, set it back to 1.0.

Next, you want to add some colour to the sphere and the plane (see Blender_3D:_Noob_to_Pro/Quickie_Material for details), so you can tell the two apart during simulation.

Move the cursor over a 3D viewport and press P. The sphere will drop down and collide with the plane. Press ESC to end simulation

For fun, try rotating the plane in front or side (NUMPAD 3) view and press P again. The ball will first hit the plane, then roll down. Add several more planes rotated to differing angles and position them in the falling path of the ball to keep it going.

This YouTube tutorial might also help: Link.


text:
Cookbook:Gooseberry

The gooseberry is a bittersweet little berry that the English have a passion for. Gooseberry wines, pies and puddings were very popular in colonial days. Today most such recipes have all but disappeared from cookbooks.

Though this intriguing berry grows wild in many locations throughout the continental United States, it's generally cultivated in tropical zones such as Hawaii, Australia, New Zealand, South Africa, Asia, and Central and South America. At first glance the cape gooseberry with its inflated, papery skin, looks somewhat like a Chinese lantern. The juicy berries that hide inside the skin are opaque and golden in color. Imported cape gooseberries are available from March to July.

Gooseberries are cultivated on a commercial scale in Oregon, but the vast majority of the crop is canned. Fresh berries are usually imported and are found in specialty produce markets. The popularity of gooseberries has been increasing over the past few years and fresh berries are becoming easier to find. The berries taste of a sweet tangy mixture of pineapple and strawberry. The fruits make an interesting addition to salads, cooked dishes, and as a garnish.

Selection
Choose hard, dry berries, with a rich sheen. If you are looking for less tartness, head for the pinkish or purplish tones. Look for those with a bright golden color; green berries are not ripe. However, pick gooseberries green for pies and jams.

Storage
Gooseberries store well and will stay fresh in the refrigerator for about two weeks. They should turn pinker and softer during their time in storage. Once they turn purple, the fruit is still good for purees for another week.

Preparation
Gooseberries vary in their bitterness. Some varieties are too bitter to eat raw, so taste one first. The less-bitter varieties of gooseberries are often added to fruit salads or used as garnish for dessert plates. To use the berries, peel back the parchment-like husk and rinse. Remove the stems and tops with scissors before eating or cooking. Gooseberries may be poached and eaten cooked or added to sugar or syrup for a sauce. To retain the shape of the berry, poach slowly. They are done when the seeds have escaped and the skins collapse.

Varieties
There are two types of gooseberries, the American and the European. The European varieties have larger and more flavorful fruits.

 * Pixwell: (American) This variety produces round 1/2-inch berries that are light green, maturing to a soft pink.

 * Welcome: (American) This variety produces a sweeter and darker fruit at maturity than the Pixwell and also produces a 1/2-inch berry.

 * Clark: The most productive of the European gooseberry types. The berries are very large and red when ripe.

 * Fredonia: (European) Available early mid-season. Ripens several days after Clark. Berries are also large and red when ripe.

title: Cookbook:Gooseberry


text:
Irish Pennywhistle

The pennywhistle, also known as the tin whistle or tin flute, is a traditional end-blown flute, similar to the recorder in appearance and use. Its origins are in Ireland, but it since has come into use in many branches of Celtic folk and traditional music, being among the most common melody instruments both in slow airs and in dance tunes such as jigs and reels. In contemporary Celtic music, it often adds a powerful accompaniment to vocal music, and it's high natural tone can provide a balance of range in multi-instrumental arrangements.

This wikibook provides a tutorial on the basic method of the pennywhistle, as well as an introduction to ornamentation, improvisation, and playing in a seisiún (pronounced "session" in english; a sort of Irish "jam session"). This is especially designed to help someone who already knows a bit about music, such as different keys and scales, but even the musically uninitiated will find much useful information.

Selecting an instrument
Before you begin playing, it is critical to select an instrument that best fits your needs, abilities, and, of course, price range. It is usually best to try out several whistles, either by purchasing or by borrowing them, before you decide which one to continue using. In particular, don't give up whistling just because you don't like a specific whistle! There are hundreds of reasonably priced whistles on the market. Some are squeaky, shrill, and hard to handle, while others feel as natural as your own voice, so keep trying until you find the right one. Here are some guidelines to set you on the right track.

Styles of whistle
The construction of a pennywhistle is very simple, as the whistle consists of only two parts. The first is the bore, a tube about 2 cm in diameter. Six holes are located on the bore; these are covered by the fingers to create different pitches. The second part is the mouthpiece, which is usually made of molded plastic and fixed to the bore (exceptions are listed below).

The most popular pennywhistles on the market today are probably also the best choice for beginners: inexpensive, with plastic mouthpieces. I highly recommend the Sweetone, which has a good sound and is available for five to six U.S. dollars from various online stores.

Another inexpensive choice is the Clarke whistle, which is made in England of a single sheet of metal wrapped in a semiconical shape, with a raw block of wood inserted as the mouthpiece. This offers a soft, breathy sound that is appropriate for certain songs, but requires much more breath than a plastic mouthpiece, making long notes or phrases all but impossible.

Most low-cost whistles are not tunable, meaning that the pitch of each note is fixed and cannot be changed to match that of other instruments. Other whistles, including some as inexpensive as $15, can be tuned by moving the mouthpiece. A tunable whistle may be a good investment if you plan on playing with other musicians very often, and especially if you are accompanied by an instrument such as a piano that cannot be easily tuned to match your pitch.

It should be mentioned that it is in fact possible to modify low-cost non-tunable whistles. Whistles such as a Generation or a Walton have the fipple (mouthpiece) glued on. To modify such whistles carefully heat the fipple in hot water to soften the glue and remove the fipple. Clean the glue off both the fipple and the bore. Grease the inside of the fipple and the outside of the bore with Vaseline or lip balm or similar and replace the fipple. This provides an airtight fit and allows the fipple to be eased up and down making it the whistle tunable.

The bore of most whistles is made of unfinished tin or brass. Some brands, however, also offer a "blackwhistle", which has an opaque black finish on the bore. This makes no difference except for looks, and should never cost more than an unfinished whistle.

Another alternative to plain metal is the wooden whistle offered by the Sweetheart Flute Company. These instruments offer a sweet, mellow tone and make it easy not to sound squeaky or shrill, though some may not like the deviation from the more piercing traditional sound. They are without exception very expensive, starting around $100. Unlike most whistles, which require that the musician half-cover holes to achieve sharps and flats, wooden whistles can have keys added to sharp certain notes for an extra charge.

The final and most unusual non-metal whistles, such as the Water Weasel brand, are made of PVC pipe.

Keys
As mentioned above, most whistles play in a specific key. For example, a whistle in the key of D plays the notes of D, E, F#, G, A, B, and C# without requiring the musician to manually sharp any notes. Any notes that are not on this scale must be created by half covering holes (unless your whistle has keys to sharp notes; see "Styles of Whistle" above.) If you wish to play a natural C on a D whistle, for instance, you must half-cover the B hole to achieve a B#, which is also a C.  Some people find it easy to manually sharp notes; others prefer to buy whistles in several different keys.

Since the vast majority of Irish music is written in the keys of G and especially D, whistles in D and G are the most common, although it is also easy to find whistles in the key of C. Each key of whistle has a different fingering. For instance, when playing a C whistle, the lowest note-- that with all the holes covered-- is a middle qb; on a D whistle, the lowest note is the D just above middle C. As a result, it can be very difficult to switch between keys. It is really a personal decision whether this or manual sharps is more cumbersome. Some people refuse to do either, and either play only tunes in their key or transpose other tunes into it.

One exception to these basic remarks is the low D whistle offered by many companies. These whistles are fingered in the same pattern as a middle D whistle, but are much longer and wider so that they play an octave lower. They are often made out of unconventional materials, such as PVC pipe, and usually have a wooden block instead of a molded plastic mouthpiece. Low whistles have a deep, haunting sound that adds a nice variety to any whistler's repertoire.

The disadvantages of low whistles are that they are more expensive than small whistles, take immense reserves of breath, and have very large, widely spaced holes. Unless you have exceptionally large hands, you will probably need to cover the holes with the flat, fleshy part of your fingers between the second and third knuckles, rather than with the fingertips, which many people find difficult to get used to. That said, this style of fingering is exactly the same as that of a bagpipe, so if you have played the pipes it will be second nature to you.

Playing the whistle
For this we assume that you are playing a whistle with the standard D tuning, which is the default whistle tuning.

There is a great tin whistle tutorial especially suitable for beginners at [whistleaway.com].

Position of Whistle and Fingers

Hold the whistle so that it comes from your mouth at about forty-five degree angle. If you are right-handed, your right hand should be on the bottom- for left-handers it is reverse. Your thumbs hold the whistle up from below. Place the top pad the first three of your fingers (not the tip) over each corresponding hole, tight enough for no air to leak. This should require very little pressure if the fingers are correctly placed -if you find holding the position for long periods uncomfortable, you may be pressing too hard. The pinkies should be placed where ever is comfortable and out of the way. They are not used. When all the holes are covered, that is D position. If you lift up the lowest finger, you have E position. Lift the next lowest finger, and it is F. Lift the next one and it is G-- so on through A, B, until C has no holes covered. Because the whistle is held in place by 'pinching' the fingers and thumbs slightly, most whistlers will keep their bottom finger (right ring finger for right handed players) down whilst playing a C -this has no real effect on the tone.

When putting the whistle to your mouth, the mouthpiece should be held between the lips, but usually not protrude into the mouth far enough to bang into the teeth, which could damage both the mouthpiece and your teeth!

Blowing

Hold the whistle in D position. With a slow steady stream of air, exhale lightly. If you blow too softly the note will not be clear. If you blow too hard, it will either be D in a higher octave or it will just squeak. Practice until the note is a clear, low D. Practice with the other notes, as well, until they all are clear, low notes. Each note takes slightly more air pressure than the one below it.

For a higher octave, you only have to blow a little harder. However, it takes a lot of practice to keep these notes from squeaking. Has anybody heard about how practice helps?! You may not believe it but it's true!

Tonguing

Tonguing is performed by tapping the roof of your mouth with your tongue, as if sounding a 'T' or 'D', at the beginning of your breath -if you were using your vocal chords rather than playing the whistle, it would give you a 'tooo' sound. It has the effect of beginning the note with a sharp attack rather than a breathy opening. Whether you tongue some, all, or none of the notes you play is entirely a stylistic choice. Tonguing can also be used mid breath to punctuate playing, as it momentarily stops the breath. This can specifically be used to break up a run of identical notes.

Irish Ornamentation

Before you try ornamentation, make sure you can play fairly well and quickly. And remember- they are not rules about ornamentation that you should follow. What ever is easiest and sounds best is they method you should use. Everyone has their own style.

The placing of Ornamentations

Some Irish music provides ornaments, but the majority leaves the ornaments up to you. Using the following devices the song can be made prettier. When ever you think one of them would enhance the sound, use it. However, it is best not to go overboard.

The Grace Note

The grace note is a very short note played before another, main note. For the notes D, E, and F, lift the finger that covers the A hole, and quickly set it down. Let's use an example to explain this a little clearer. You have a song, in which the sequence of notes goes like this:

A G grace note E F grace note D

First play the A, then the G, then put you fingers in the position of E, but with the A hole uncovered, play, and quickly replace the A finger. (tongue only the grace note, not the main note). Next play the F, then form the D, with the A hole uncovered, play, and quickly replace the A finger.

For the notes G, A, and C, they same thing is done, only it is not the A hole that is uncovered for the grace note, but the B hole. You can use other holes as well for grace notes. Remember, there are not rules. What sounds best is best.

The length of a grace should be only long enough to be distinct. Keep it as short as possible without the tones blending.

Strikes

A strike is easy- just tap your finger on the hole below the note you are playing. Like the tonguing you can separate notes with a strike, which can be used well if there are two or more equal notes in row. For example A A A or G G.

Cuts

The cut is another way to separate notes. Instead of tapping the beflower note as we do it in a strike, we are lifting one finger at a higher note to interrupt the airflow. Essential for this are the forefinger and the ringfinder of your left hand. To cut the notes D E and F you are lifting your left ringfinger and to for cutting the notes G A and B you take your left forefinger. You might ask what is meant with "lifting the finger?" and that is a quite important question. It is not a lifting at all but rather a really short flipping of your finger. As if a beetle is sitting on your finger and you want to chase it of.

Slides

A slide is a gradual transition from one note to another, as opposed to the ordinary form of quickly moving to the next note. Generally done by gently rolling the finger onto or off of the hole, as opposed to the tapping required in quicker melodies.

Rolls and Vibratos

Coming soon!

Resources
As well as the basic how-to of playing the whistle, there are inevitably other resources you will want, which have been exhaustively covered elsewhere, and may provide alternative opinions/explanations than here.

http://www.whistleaway.com/ - Great animated tutorials and exercises available to help you learn the whistle, along with videos, sheet music and MP3's..

http://www.thesession.org/ -A huge community-based database of folk songs. You will find almost any tune you've ever heard here -and if not, tell them about it!

http://www.tinwhistler.com/ -an all-round site including a large songbook (with midi files and real recordings) and an extensive set of reviews of both high-end and inexpensive whistles.

A 9 week video Introduction to Tin Whistle course offered by Ryan Duns SJ at Fordham University can be viewed at http://www.youtube.com/user/RyanDunsSJ. Participantants can join the group http://www.youtube.com/group/tinwhistle

title: Irish Pennywhistle


text:
FHSST Physics/Contributors

Contributors
This book was largely developed external to WikiBooks as part of the Free High School Science Texts. Many of the contributors will not be listed here but we would like to maintain a complete list of contributors on the FHSST website.

Please consider joining the mainstream development group of FHSST to help get this text complete as fast as possible. We really want to provide a complete set of high school science texts that are freely available as soon as possible. This is much simpler to achieve if we coordinate efforts Marknewlyn 23:38, 7 May 2005 (UTC)

 * Marknewlyn 23:38, 7 May 2005 (UTC)
 * Jimmy 07:25, 26 May 2005 (UTC)

title: FHSST Physics/Contributors


text:
Catalan/Plural

Note the word endings, and how they change in their plural forms:

Words ending in "a" or "e" get an "s". casa-cases, note that the ending "a" always changes to "e" before the "s"

Words ending in "à" - the ending becomes "ans" humà-humans

Words ending in "è" or "é" - the ending becomes "ens" cinquè-cinquens

Words ending in "í" - the ending becomes "ins" camí-camins

Words ending in "ò" or "ó" - the ending becomes "ons" camió-camions

Words ending in "ú" - the ending becomes "uns" oportú-opportuns

Words ending in "s" - the ending becomes "ssos" gos-gossos Words ending in "ix" - the ending becomes "ixos" baix-baixos

Words ending in "tx" - the ending becomes "txos" esquitx-esquitxos

Words ending in "ig" - the ending becomes "itjos" desig-desitjos

Words ending in "aig" - the ending becomes "ajos" assaig-assajos

And finally, words ending in any other consonant - simply get an extra "s" curt-curts

However, be careful with the following orthographic changes.

-ca becomes -ques vaca-vaques

-ga becomes -gues euga-eugues

-qua becomes -qües Pasqua-Pasqües

-gua becomes -gües aigua-aigües (in order to preserve the [gua] sound

-tja becomes -tges platja-platges

-ça becomes -ces caça-caces

title: Catalan/Plural


text:
Catalan/L'article

Definite
The elided form of the singular article, l ' , is used in the following cases:

 * Before words starting with a, e, o or silent h followed by one of those letters
 * e.g., l'article ('the article'), l'entitat ('the entity'), l'oncle ('the uncle')

 * Before foreign words beginning with s followed by a consonant (which receive an before the s in actual pronunciation)
 * e.g., l'Stradivarius (actually pronounced lestradivarius, as though it were written l'Estradivarius)

 * Before stressed i, u, or silent h followed by one of those letters (stressed syllables underlined in examples below)
 * e.g., l' I mma ('Imma', third-person reference), l' ús  ('the use'), l' hivern ('the winter')
 * Before unstressed i, u, or silent h followed by one of those letters, the full form la is used rather than the elided form l '
 * la Immacu la da ('Immaculada', third-person reference), la universi tat  ('the university')

title: Catalan/L'article


text:
Catalan/Adjectius

BLUE:
 * MASC SING: blau
 * FEM SING: blava
 * MASC PLUR: blaus
 * FEM PLUR: blaves

GOOD:
 * MASC SING: bo
 * FEM SING: bona
 * MASC PLUR: bons
 * FEM PLUR: bones

SMALL:
 * MASC SING: petit
 * FEM SING: petita
 * MASC PLUR: petits
 * FEM SING: petites

title: Catalan/Adjectius


text:
Catalan/Pronoms

Strong pronouns
The strong pronouns serve as subjects and as objects of a preposition, as in "Jo menjo una poma" ('I am eating an apple') and "Dóna-me'l a mi!" ('Give it to me (and not to him/...)!'). They are also used as interjections or parts thereof, as in "Jo no!" ('Not me!').

Note that unlike in English, it is not necessary to supply a subject pronoun in Catalan, especially since subject person and number can be typically deduced from conjugated verbforms; that is, the notions behind the pronouns are "built into" the verbforms (e.g., the -o of menjo alludes to jo). In fact, subject pronouns are generally only used for emphasis or clarification, and so it is more normal to omit them. Therefore, "I eat"/"I am eating" is normally expressed as "Menjo" rather than "Jo menjo", which normally expresses "I (and not you/...) am eating".

Below is a table of the strong pronouns in Catalan with their literal English translations below:

First person

 * The form mi is only used after a preposition; some dialects and informal registers use jo instead
 * The first-person singular majestic pronoun nós serves as the equivalent of the "royal we"; it behaves grammatically as plural

Second person

 * As with many other continental European languages, Catalan has many equivalents of you that vary based on whom one is speaking to:
 * tu is used to refer to social inferiors (including children), animals, friends, and strangers around one's age
 * vós is traditionally used as a pronoun of courtesy, to refer to strangers elder than the speaker, for example
 * vós has been generally supplanted by vostè in most dialects
 * vostè traditionally refers to those in honorable social positions, such as judges and doctors

 * vós behaves grammatically as second-person plural
 * vostè behaves grammatically as third-person singular while vostès behaves as third-person plural

 * vostè and vostès may appear as vosté and vostés in Valencian texts

Third person

 * ells is used to refer to groups made up of both men and women, no matter how many women make them up and no matter how few men make them up
 * si is only used as the object of a preposition

Weak pronouns
The weak pronouns (pronoms febles) are the object and adverbial pronouns that attach to the front or end of a verb (or to other attached pronouns); they are termed weak because they do not receive stress (in the varieties of Catalan outlined in this textbook, at least) and are often subject to various reductions.

When attached to a conjugated verb in the indicative or subjunctive mood, they go before the verb; in other cases, they are attached to the end. Compare the following examples (pronouns and related orthographic devices are in bold):

 * "Dóna'm la poma!" ('Give me the apple!') = "dóna" (second-person singular informal imperative) + "em"
 * "Dóna-me-la!" ('Give it to me!', the apple) = "dóna" (second-person singular informal imperative) + "em" + "la"
 * "donar-me'l" ('To give it to me', 'Giving it to me' (concept), some object referred to with a masculine noun) = "donar" (infinitive) + "em" + "el"
 * "Em dónes dues pomes." ('You give me two apples.', 'You're giving me two apples') = "em" + "dónes" (second-person singular informal indicative)
 * "Hi ha dues portes." ('There are two doors.') = "hi" + "ha" (third-person singular indicative)
 * "Se n'ha anat." ('He went/left.', 'He's gone/left.') = "es" = "en" + "ha" (third-person singular indicative)

Notice that although we say that they are attached to the left of the verb that they are not necessarily depicted as such in writing when they come before the verb. In respect to the sound system, however, pronouns attached to the left and their host verb count as a single word and are often actually pronounced as such; therefore, for example "hi ha" is pronounced connected as ("yah") rather than the disjointed  ("ee ah").

Object pronouns
(Note
 * Me = em (m') before the verb or me ('m) after the verb
 * You (singular) = et (t') before the verb or te ('t) after the verb
 * Him/her/it = es (s') before the verb or lo ('l)/la/ho/li after the verb
 * Us = ens before the verb or nos('ns) after the verb
 * You (plural) = us before the verb or vos('us) after the verb
 * Them = se (s') before the verb or los ('ls)/les after the verb
 * him/her/it: (Direct Object) lo ('l)/la/ho - (Indirect Object) li
 * them: (Direct Object) los ('ls)/les - (Indirect Object) los ('ls) )

Possessive pronouns

 * Note that in most dialects, llur and llurs are archaic and typically only used in formal texts.

 * The following unstressed possessive pronouns are retained in certain dialects and in literature: mon/ma/mos/mes, ton/ta/tos/tes, son/sa/sos/ses, nostre/nostra/nostres/nostras, vostre/vostra/vostres/vostras, llur/llurs

Demonstrative pronouns
Traditionally, Catalan distinguishes three grades amongst its demonstrative pronouns/determiners ('this', 'that', 'yon') and locative adverbs ('here, 'there', 'yonder'), but like most dialects of English, many dialects of Catalan have either reduced its forms so that only two degrees have distinct forms or are in the process of doing so. Dialects, such as Central Catalan, that do so typically extend their first-degree gendered pronouns and determiners (aquest, ...) to the second degree while also extending their second-degree neuter pronouns (això) and locative adverbs (aquí) to the first degree, resulting in the displacement of the forms whose territory was encroached upon.

The neuter pronouns correspond with the weak pronoun ho.

Amongst the first- and second-degree forms, there are the "reinforced" forms that begin with "aqu-" as well as those that do not. The second set is found in various varieties of Western Catalan, including Valencian.

The third grade is somewhat akin to that conveyed by the English constructions "that over there" and "over there". The third-degree gendered forms are, in effect, the strong third-person pronouns reinforced with "aqu-".

What is expressed in English as 'like this', 'like that', 'thus', and 'so' (though not 'so' as in "So, what do you want to do right now?") is normally expressed in Catalan with the adverbs així and aixà as in, for example: "Per què parles així?" ('Why are you talking like that?'), "He menjat el peix, així que ara puc menjar les meves postres!" ('I ate/have eaten the fish, so now I can eat my dessert!') The form aixà is only used in contrast with així.

Finally, note that the form ahí is Valencian and that aquí in the Valencian system tends to be associated with the first rather than the second degree thanks to its use as first-degree in its northern and southern dialects.

The first table outlines the modern incarnation of the classical three-grade system, only used in very formal contexts. The second and third tables outline the typical systems found in Central Catalan and Valencian.

Relative pronouns

 * el qual/la qual/els quals/les quals (which, who, whom)
 * que - that, which, who
 * què - what
 * qui - who, whom
 * on - where, when

Interrogative pronouns
The interrogatives of Catalan are as follows:

 * quin? - which (one)?
 * qui? - who?, whom?
 * què? - what?
 * com? - how?, what?
 * on? - where?
 * quan? - when?
 * per què? - why?
 * per a què - what ... for?

Note that Catalan prefers quin in some places where English would prefer what. With ser, in particular, què is avoided if it is technically possible to construe the question as a request for a definition (no matter how silly it may seem) rather than a selection of many possibilities. For example, one asks Quina és la teva opinió sobre l'economia d'Espanya? ("What is your opinion on Spain's economy?") rather than Què és la teva opinió sobre l'economia d'Espanya? (c.f. the following absurd exchange: A. "What is your opinion on Spain's economy?" B. "It's what I opine on that country's economy.").

com? is often used rather than què? as a response to something one has not understood or heard well.

The pronoun quin is inflected as such:

Indefinite pronouns

 * algú - somebody/someone
 * cadascú - each one
 * tothom - everyone
 * un/una/hom/un hom - one, you
 * tot = all
 * quelcom = something
 * alguna cosa = something

Negative pronouns
Examples: Res més? = Anything else? No vull res més. = I don't want anything else. No, res. = No, nothing.
 * ningú = no one
 * res = anything, nothing
 * (no) res = nothing

title: Catalan/Pronoms


text:
Cookbook:Grapefruit

| Citrus

The grapefruit is a large citrus fruit that is moderately sour and slightly bitter. It is well-known for causing dangerous interactions with drugs, so be sure to investigate this if you are taking any medication. Pink or red grapefruits tend to be sweeter and have more vitamins than the "white" (yellow) grapefruits.

To serve a grapefruit in the traditional manner, first cut it in half right across the axis. A small spoon may then be used to scoop out the pulp. You may wish to first cut around the center or around the edge, possibly using a bent serrated knife. You may wish to use a grapefruit spoon. If the grapefruit is particularly sour, you might sprinkle some sugar on top.

An altogether different way to cut a grapefruit, preferred for use in salads or dessert dishes, is known as supreme. First both ends (poles) of the grapefruit are cut off, enough to expose the flesh. Then the skin and pith are cut away in strips (it is best to use a serrated knife to make curved cuts). Next the membranes are cut or peeled away from the flesh, leaving bare segments free of chewy membranes and bitter pith. This method is particularly useful for grapefruit and pummelo because the segments are so large compared to other citrus fruits.

title: Cookbook:Grapefruit


text:
Cookbook:Citrus

| Fruit

The citrus fruits are a group of semi-tropical acidic fruits.

Characteristics
All citrus varieties have same basic characteristics. These include a thick, bitter peel with an aromatic outer skin (the zest) and an inner flesh that is divided into very juicy segments. They are all sour, but the flavor of each variety differs in overall sweetness, acidity, bitterness, and specific aromatic compounds. The color of the skin varies from green to yellow to orange, depending both on variety and the growing climate.

After juicing, the flavor of the juice gradually becomes more bitter due to enzymatic activity. In some cases this is desirable in order to develop the flavor of the juice. However, it may be especially undesirable in some applications, such as with orange juice.

Selection and storage
As citrus ripen only on the tree, make sure to only procure ripe fruits—they will not ripen later on. Make sure your fruits feel dense and generally firm all over, with no browning or bruising. The skin should feel slightly waxy.

Citruses will keep for a couple days at room temperature, but refrigeration is best, and refrigerated whole citrus can often last for up to a couple weeks. Once cut, peeled, or zested, the fruits will dry out within a day or so. Citrus fruits themselves do not freeze well, but the juice can be frozen—do note, however, that the juice can become less aromatic the longer it is frozen.

Preparation
You can prepare citrus fruits in a couple ways, depending on the use. One common method is to peel the fruit, removing the pith to expose the segments but leave them contained—this prevents juice from getting everywhere. Alternatively, you can just use a knife to slice the fruit into segments, but this will create juicy surfaces that may or may not be desirable. To juice citruses, they are typically cut in half and squeezed, sometimes with the help of a juicer or reamer. Note that cold fruits are much harder to juice, so it's good to bring them to room temperature first. When zesting citrus, you'll want to make sure to only remove the aromatic outer skin and leave behind the thick, bitter white pith itself.

It's a good idea to wash the fruits just before use to remove any residual wax and/or pesticides.

Use
Citrus and their juices are consumed in a variety of ways, from raw to cooked. Sweeter varieties may simply be peeled and eaten straight. Citrus juice can be used as a flavoring agent for various beverages, dessert applications, dressings, marinades, and more, where it adds significant acidity. The flavorful zest is also used, and its oils contribute a more aromatic character than the juice does. Both the fruit and zest may be used to various extents as garnishes.

title: Cookbook:Citrus


text:
Cookbook:Pomelo

| Citrus

The pummelo is a huge citrus fruit. It is the predecesor to the grapefruit. Compared to a grapefruit, the pummelo is milder. It might be wise to assume that the grapefruit's well-known drug interaction problems apply to the pummelo as well. A pummelo can be served like a grapefruit.

title: Cookbook:Pomelo


text:
Cookbook:Melon

Many melons originated in the Middle East and gradually spread its popularity across Europe. Ancient Egyptians and Romans enjoyed cantaloupes or muskmelons. Melon seeds were transported to the United States by Columbus and eventually cultivated by Spanish explorers in California.

Melons are in the same gourd family as squashes and cucumbers. Most melons have similar structure to winter squash with thick flesh and inner seed-filled midsection. So what’s the difference between melons and squashes? It’s the way that they’re used. Squashes are considered vegetables, while melons are known as fruits with sweet and juicy flavor.

Melons are a good source of vitamin C and potassium. They have high water content are relatively low in Calories, and also fat and cholesterol free.

Varieties
There are many melon varieties. Cantaloupe, honeydew, and watermelon are the most well known varieties.

Selection
In general, melons should be shaped according to their variety. For example, cantaloupes should be round, etc. In addition, melons should not have cracks, soft spots, or dark bruises. You should look for a clean and smooth break at the stem and for most mature melons have a fruity fragrance (if not chilled).

Storage
Keep uncut melons at room temperature for two to four days or until fully ripe, then refrigerate for up to 5 days. Refrigerate cut up melon in a covered container up to 3 days. Remember that cut melons are aromatic and their smell will penetrate other foods.

Preparation
Always wash melons in warm soapy water before cutting to get rid of any impurity on the rind that might be carried from the knife blade to the flesh. Simply cut the melon in half and scoop out the seeds and strings. Melons can be cut into halves, quarters, wedges, cubes, or scooped into balls with a melon baller. Most melons will benefit from a squeeze of lemon or lime juice to enhance the flavor. Serve at room temperature.

title: Cookbook:Melon


text:
Talk:Horn/General/Players

The current organization seems limited if too many famous players get added. I vote that we just list them normally in alphabetical order and have and individual page for each one. This will make the page smaller and take out the table of contents that gets added by default. Let me know what you think. -Horndude77
 * I agree. It is possible to kill the table of contents though (   ). Ross Uber 03:32, 10 May 2005 (UTC)

title: Talk:Horn/General/Players


text:
Cookbook:Pomegranate

The pomegranate is a fruit the size of a large orange. The leathery reddish-pink skin shelters the membranous walls and bitter tissue that house compartments or sacs filled with hundreds of seeds. A translucent red pulp that has a slightly sweet and tart taste surrounds these seeds. Pomegranates are grown in California and throughout Asia and the Mediterranean countries.

Selection and Storage
Pomegranates are available in the United States from September through December. Select fruit that is heavy for its size with bright, fresh color and blemish-free skin. You can refrigerate whole pomegranates for up to 2 months or store them in a cool, dark place for up to a month. Pomegranate seeds packed in an airtight container and stored in the freezer will keep for up to 3 months.

Uses and Preparation
Pomegranates are a versatile fruit and can be used as a garnish on sweet and savory dishes or pressed to extract the juice. To use a pomegranate, cut it in half and pry out the pulp-encased seeds, removing any of the light-colored membrane that adheres. The seed pods tend to squirt when they pop, and you will invariably pop quite a few of them while handling a pomegranate. The juice will stain, so be sure to wear an apron or clothing that you don’t mind getting stained.

The juice can also stain your walls or countertops; a good way to avoid the squirting juices is to handle the fruit completely submerged in a large pot of water. The seeds will sink to the bottom, and the membrane will float. Use a strainer to scoop out the membrane, then pour the rest through a collander to collect the seed pods.

title: Cookbook:Pomegranate


text:
Cookbook:Denver Omelet

| US Cuisine | Breakfast | Omelet Recipes

The Denver omelet is a bit like the Spanish omelet, but with different non-egg ingredients.

Ingredients

 * 4 large eggs
 * 1 cup chopped onion
 * ½ cup chopped red bell peppers
 * ½ cup chopped green bell peppers
 * ½ cup diced cooked ham
 * 8 slices cooked bacon, drained and crumbled
 * 2 tablespoons butter
 * ½ teaspoon salt
 * ½ teaspoon pepper
 * a couple drops of your favorite hot sauce (optional)

Procedure

 * 1) Melt butter in a large skillet or on a griddle.
 * 2) Sauté onion, bell pepper, ham and bacon in the butter until the onion starts to become translucent.
 * 3) In a small bowl, whip the eggs lightly. Add salt, pepper, and hot sauce if desired.
 * 4) Slowly stir the eggs into the mixture in the skillet.
 * 5) Lightly brown on one side.
 * 6) Flip over and lightly brown other side.

title: Cookbook:Denver Omelet