text:
More C++ Idioms/Named Constructor

= Named Constructor =

Intent

 * To have a readable and intuitive way of creating objects of a class
 * To impose certain constraints while creating objects of a class

Motivation
In C++, constructors are distinguished from each other only based on the type, the order and the number of parameters. Of course when a class has multiple constructors, each constructor has a different purpose. However, in C++ it is hard to capture that "semantic" difference in the interface of the class because all the constructors have the same name and only parameters can distinguish between them. Reading code with lots of constructor calls only differing in the type/order/number of parameters is quite unintuitive except for the original developer of the class. Named constructor idiom addresses the problem.

Solution and Sample Code
The named constructor idiom uses a set of static member functions with meaningful names to create objects instead of constructors. Constructors are either private or protected and clients have access only to the public static functions. The static functions are called "named constructors" as each unique way of creating an object has a different intuitive name. Consider the example below:

Without using the named constructor idiom in the class above, it is difficult to convey the meaning of what Game(1) and Game(0) means. The idiom makes it loud and clear! Additionally, it is possible to put certain constraints on the object creation process using this idiom. For example, named constructors could always create an object dynamically using new. In such a case, Resource Return idiom could be helpful.

Related Idioms
Resource Return

title: More C++ Idioms/Named Constructor


text:
More C++ Idioms/Named Parameter

= Named Parameter =

Intent
Simulate named (key-value pair) parameter passing style found in other languages instead of position-based parameters.

Also Known As
Method chaining, Fluent interface

Motivation
When a function takes many parameters, the programmer has to remember the types and the order in which to pass them. Also, default values can only be given to the last parameters, so it is not possible to specify one of the later parameters and use the default value for former ones. Named parameters let the programmer pass the parameters to a function in any order and they are distinguished by a name. So the programmer can explicitly pass all the needed parameters and default values without worrying about the order used in the function declaration.

Solution and Sample Code
Named parameter idiom uses a proxy object for passing the parameters. The parameters of the function are captured as data members of the proxy class. The class exposes set methods for each parameter. The set methods return the *this object by reference so that other set methods can be chained together to set remaining parameters.

Known Uses

 * bgl_named_params template in the Boost Graph Library (BGL)
 * boost::parameter

Related Idioms

 * Named Template Parameters

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

title: More C++ Idioms/Named Parameter


text:
More C++ Idioms/Polymorphic Exception

= Polymorphic Exception =

Intent

 * To create an exception object polymorphically
 * To decouple a module from the concrete details of the exceptions it may throw

Motivation
Dependency Inversion Principle (DIP), a popular object-oriented software design guideline states that higher level modules should not depend directly on lower level modules. Instead, both should depend on common abstractions (captured in the form of well-defined interfaces). For example, an object of type Person (say John) should not create and use an object of type HondaCivic but instead John should simply commit to a Car interface, which is an abstract base class of HondaCivic. This allows John to upgrade to a Corvette easily in future without any changes to the class Person. John can be "configured" with a concrete instance of a car (any car) using dependency injection technique. Use of DIP leads to flexible and extensible modules that are easy to unit test. Unit testing is simplified by DIP because real objects can be easily replaced with mock objects using dependency injection.

However, there are several occasions when DIP is violated: (1) while using the Singleton pattern and (2) while throwing exceptions! Singleton pattern breaks DIP because it forces the use of the concrete class name while accessing the static instance function. A singleton should be passed as a parameter while calling a function or a constructor. A similar situation arises while dealing with exceptions in C++. The throw clause in C++ requires a concrete type name (class) to raise an exception. For example,

Any module that throws exceptions like this immediately results into a violation of DIP. Naturally, it is harder to unit test such a module because real exception objects cannot easily be replaced with mock exception objects. A solution like the one below fails miserably as throw in C++ uses static typing and knows nothing about polymorphism.

Polymorphic exception idiom addresses the issue.

Solution and Sample Code
Polymorphic exception idiom simply delegates the job of raising the exception back to the derived class using a virtual function raise

The throw statement has been moved into virtual functions. The raise function invoked in function foo is polymorphic and selects the implementation in either ExceptionBase or ExceptionDerived class depending upon what is passed as a parameter (dependency injection). Type of *this is obviously known at compile-time, which results into raising a polymorphic exception. The structure of this idiom is very similar to that of Virtual Constructor idiom.

Propagating a polymorphic exception

Quite often an exception is handled in multiple catch statements to treat it differently in different layers of the program/library. In such cases, the earlier catch blocks need to rethrow the exception so that the outer catch blocks, if any, may take the necessary actions. When a polymorphic exception is involved, inner catch block(s) may modify the exception object before passing it on to the catch blocks up in the stack. In such cases, care must be taken to ensure that the original exception object is propagated. Consider a seemingly innocuous looking program below, which fails to do that.

The throw e statement does not throw the original exception object. Instead, it throws a sliced copy (only ExceptionBase part) of the original object because it considers the static type of the expression in front of it. Silently, the derived exception object was not only lost but also translated into the base type exception object. The catch blocks up in the stack do not have access to the same information this catch had. There are two ways to address the problem.

 * Simply use throw; (without any expression following it). It will rethrow the original exception object.
 * Use polymorphic exception idiom again. It will throw a copy of the original exception object because the raise virtual function uses throw *this.

Use of throw; should be strongly preferred in practice, because depending on the implementation, it may preserve the original throw-location in case the exception goes unhandled and the program dumps core, thus easing post mortem analysis of the problem.

Related Idioms
Virtual Constructor

title: More C++ Idioms/Polymorphic Exception


text:
More C++ Idioms/Virtual Constructor

= Virtual Constructor =

Intent
To create a copy of an object or a new object without knowing its concrete type.

Also Known As
Factory Method of initialization

Motivation
Uses of calling member functions in a class hierarchy polymorphically are well known in the object-oriented programming community. It is a way of implementing the is-a (or more practically, behaves-as-a) relationship. Sometimes it is useful to call life-cycle management (creation, copy, and destruction) functions of a class hierarchy polymorphically.

C++ natively supports polymorphic destruction of objects using a virtual destructor. An equivalent support for creation and copying of objects is missing. In C++, creation of object(s) always requires its type to be known at compile-time. The Virtual Constructor idiom allows polymorphic creation of and copying of objects in C++.

Solution and Sample Code
The effect of a virtual constructor by a create member function for creation and a clone member function for copy construction as shown below.

The Manager class implements the two pure virtual functions and uses the type name (Manager) to create them. The function duplicate shows how virtual constructor idiom is used. It does not really know what it is duplicating. It only knows that it is cloning an Employee. The responsibility of creating the right instance is delegated to the derived classes. The duplicate function is therefore closed for modifications even though the class hierarchy rooted at Employee gets more sub-classes added in the future.

The return type of the clone and create member functions of the Manager class is not Employee but the class itself. C++ allows this flexibility in types where the return type of the over-ridden function can be a derived type of that of the function in the base class. This language feature is known as co-variant return types.

To handle resource ownership properly, the Resource Return idiom should be employed for the return types of clone and create functions as they are factory functions. If used, the return types (shared_ptr and shared_ptr) are no longer covariant return types and program should fail to compile. In such a case, the virtual constructor functions in the derived class should return the exact type as in the parent class.

Known Uses
std::function

Related Idioms

 * Resource Return
 * Polymorphic Exception

title: More C++ Idioms/Virtual Constructor


text:
More C++ Idioms/Virtual Friend Function

= Virtual Friend Function =

Intent
Simulate a virtual friend function.

Motivation
Friend functions are often needed in C++. A canonical example is that of types that can be printed to output streams (e.g., std::cout). An overloaded left-shift operator function, which is often a friend, is needed to achieve seamless streaming capabilities. Friend functions are really an extension of the class's interface. However, friend functions in C++ can not be declared virtual and therefore no dynamic binding of friend functions is possible. Applying a friend function to an entire hierarchy of classes becomes awkward if an overloaded friend function is needed for every class in the hierarchy. This lack of support for dynamic binding makes it hard to justify that friend functions are in fact an extension of the class's interface. Virtual friend function idiom addresses this concern elegantly.

Solution and Sample Code
Virtual friend function idiom makes use of an extra indirection to achieve the desired effect of dynamic binding for friend functions. In this idiom, usually there is only one function that is a friend of the base class of the hierarchy and the friend function simply delegates the work to a helper member function that is virtual. The helper function is overridden in every derived class, which does the real job and the friend function just serves as a facade.

title: More C++ Idioms/Virtual Friend Function


text:
More C++ Idioms/Resource Acquisition Is Initialization

= Resource Acquisition Is Initialization =

Intent

 * To guarantee release of resource(s) at the end of a scope
 * To provide basic exception safety guarantee

Also Known As

 * Execute-Around Object
 * Resource Release Is Finalization
 * Scope-Bound Resource Management

Motivation
Resources acquired in a function scope should be released before leaving the scope unless the ownership is being transferred to another scope or object. Quite often it means a pair of function calls - one to acquire a resource and another one to release it. For example, new/delete, malloc/free, acquire/release, file-open/file-close, nested_count++/nested_count--, etc. It is quite easy to forget to write the "release" part of the resource management "contract". Sometimes the resource release function is never invoked: this can happen when the control flow leaves the scope because of return or an exception. It is too dangerous to trust the programmer that he or she will invoke resource release operation in all possible cases in the present and in the future. Some examples are given below. This is a general control flow abstraction problem. Resource Acquisition is Initialization (RAII) is an extremely popular idiom in C++ that relieves the burden of calling "resource release" operation in a clever way.

Solution and Sample Code
The idea is to wrap the resource release operation in a destructor of an object in the scope. The language guarantees that the destructor will always be invoked (of a successfully constructed object) when control flow leaves the scope because of a return statement or an exception.

Acquiring resource(s) in constructor is not mandatory in RAII idiom but releasing resources in the destructor is the key. Therefore, it is also known (rarely though) as Resource Release is Finalization idiom. It is important in this idiom that the destructor should not throw exceptions. Therefore, the destructors have no-throw specification but it is optional. std::auto_ptr and boost::scoped_ptr are ways of quickly using RAII idiom for memory resources. RAII is also used to ensure exception safety. RAII makes it possible to avoid resource leaks without extensive use of try/catch blocks and is widely used in the software industry.

Many classes that manage resources using RAII, do not have legitimate copy semantics (e.g., network connections, database cursors, mutex). The NonCopyable class shown before prevents copying of objects that implement RAII. It simply prevents access to the copy-constructor and the copy-assignment operator by making them private. boost::scoped_ptr is an example of one such class that prevents copying while holding memory resources. The NonCopyable class states this intention explicitly and prevents compilation if used incorrectly. Such classes should not be used in STL containers. However, every resource management class that implements RAII does not have to be non-copyable like the above two examples. If copy semantics are desired, boost::shared_ptr can be used to manage memory resources. In general, non-intrusive reference counting is used to provide copy semantics as well as RAII.

Consequences
RAII is not without its limitations. The resources which are not memory and must be released deterministically and may throw exceptions usually aren't handled very well by C++ destructors. That's because a C++ destructor can't propagate errors to the enclosing scope (which is potentially winding up). It has no return value and it should not propagate exceptions outside itself. If exceptions are possible, then the destructor must handle the exceptional case within itself somehow. Nevertheless, RAII remains the most widely used resource management idiom in C++.

Known Uses

 * Virtually all non-trivial C++ software
 * std::unique_ptr (and std::auto_ptr)
 * std::shared_ptr
 * boost::mutex::scoped_lock

Related Idioms

 * Scope Guard
 * Reference Counting
 * Non copyable
 * Scoped Locking idiom is a special case of RAII applied to operating system synchronization primitives such as mutex and semaphores.


text: Category:Book:More C++ Idioms

title: Category:Book:More C++ Idioms


text:
Cookbook:Cheese Filling for Peynirli Börek

Cheese filling to make peynirli börek

Ingredients

 * 1 cup cottage cheese
 * 1 cup feta, crumbled
 * 1 egg, beaten
 * 1 Tbsp parsley or dill, chopped
 * ¼ tsp pepper

Procedure

 * 1) Mix the feta into the cottage cheese by mashing together with a fork.
 * 2) Add the beaten egg, chopped herbs and pepper, and stir until just mixed.
 * 3) Place in a plastic covered container and refrigerate until ready to use.
 * 4) See Börek recipe for further instructions.


text:
User talk:58.169.4.235

Welcome to Wikibooks. We invite everyone to contribute constructively to our collection. Take a look at the welcome page if you would like to learn more about contributing. However, unconstructive edits are considered vandalism, and if you continue in this manner you may be blocked from editing without further warning. Please stop, and consider improving rather than damaging the hard work of others. Thanks. -- Herby talk thyme 09:00, 5 August 2007 (UTC)

title: User talk:58.169.4.235


text:
User talk:Petesm~enwikibooks

Welcome message
Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally.

You might also be interested to read our Cookbook policy page and talk to other Cookbook editors. Webaware talk 09:59, 5 August 2007 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Petesm. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Petesm~enwikibooks that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:36, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:22, 19 April 2015 (UTC)

title: User talk:Petesm~enwikibooks


text:
Muggles' Guide to Harry Potter/Magic/Liberacorpus

Overview
Liberacorpus is the countercharm to Levicorpus.

Extended Description
This spell was invented by the Half-Blood Prince and recorded in the his copy of the Advanced Potion-Making textbook. Harry uses it after casting Levicorpus on a sleeping Ron Weasley, to release him.


text:
User:Brianmc

Find me on Wikinews

title: User:Brianmc


text:
User talk:Brianmc

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. -- Herby talk thyme 11:01, 5 August 2007 (UTC)

Usefulness
I see you doubt your own usefulness already! As a seasoned wikiversity participant, and a wikinewsie, you're obviously not a new user to the whole wiki- system. On wikibooks we write instructional books. If you are interested, you could write a book about journalism (how to get a good story, how to write reports, etc). Since you are experienced in other projects, You might want to help out with an upcoming project that we have, a helpbook for using mediawiki and using the various wikimedia projects.

If you aren't interested in writing, we have all the common tasks of any project that you can jump into: double-redirects, stubs, vandalism, unlicensed images, etc. check out Wikibooks maintenance if you are interested in that kind of stuff.

Otherwise, just let me know what you are interested in. Chances are we either have a book on that subject that you can contribute to, or else we need a book on it that you can start! If you need any help, let me know. --Whiteknight (Page) (Talk) 21:05, 6 August 2007 (UTC)
 * I'd be interested - at least - in commenting on how to navigate and get stuff up on Wikinews. That is something I could help out with. Our style is quite different to Wikipedia and there is an urgency about reporting news that some find a turn-off. As to a book on Journalism... I'm an amateur - although I did manage to land an interview with Tony Benn. Any bookies want to add a question in the next 24 hours? --Brianmc 10:57, 7 August 2007 (UTC)

title: User talk:Brianmc


text:
User:Peter R Runes

Not in use.

title: User:Peter R Runes


text:
Template:Haskell/Lib

What does this template do?
This template generates links to the documentation of library modules. For example, if you talk about  and want the text to be a proper link to the latest haddocks, this template is for you.

The links point to the library documentation on Hackage. You have to specify the exact version of a package. The default is. Short forms are allowed, i.e. . Exception: in the special case of the Prelude, it will link to the language standard.

Arguably, automatic syntax coloring and hyperlinking of Haskell source code should obsolete this template.

Usage
Currently, the module name may be only 5 levels deep, but that's easy to change.

title: Template:Haskell/Lib


text:
Electronic Business

Electronic business is an ever-changing field. Things can get obsolete before you know it. One good way of handling the rapid change is building a good knowledge base of the basics.

Where did it all come from?
It may seem strange for the first time reader,but like many other relevant technologies of the day (e.g.: Global Positioning Systems) The Internet has its roots in the US Department of Defense. The initial idea seems to be building a network which would work even if one or more servers were annihilated in an enemy attack. Along with the military objectives, there were other potential benefits namely, information sharing, electronic transactions, efficient collaboration and community building (e.g.: Bulletin Board System). These potential benefits and uses made the tiny ARPANET evolve into the internet as we know today.

Pillars and principles
The two major pillars which support an e-business infrastructure are as follows:
 * Legal Standards: These include legal licensing documents (End user licenses etc.) and other related legal documents like Privacy policies. These are important in an e-business environment so that any misuse of the digital infrastructure can be dealt with legally.
 * Technical standards: These documents are essential to standardize protocols and other basic technologies so that multiple manufacturers and businesses can manufacture devices and systems based on the particular technology. As a result the consumer  has a choice of vendors to choose from. Technical standards also ensure compatibility across the network.

Brick and mortar v/s e-business
Traditional brick and mortar business were basically product centric. Companies competed on their products and the consumer was largely sidelined. This approach resulted in a slow product evolution cycle. Apart from isolating the customer from the product development, other serious drawbacks in the brick and mortar style of business included poor scaling of the business. The business will typically be confined to a geographic location and expanding required huge investments. Electronic business overcomes all these problems. E-business has a customer centric approach and the customer is a part of the product development cycle. Customer interaction and product feedback allow the product to be refined in a much shorter time span.

Unlike Brick and mortar businesses, information is vital for e-business. Along with information, systems capable of storing, processing and retrieving the information are also crucial to the success of e-business.

What infrastructure do I need?
For an e-business to be successfully built on the principles stated above, One needs infrastructure which can fulfill the needs of capturing, processing and storing data. This infrastructure must have the following attributes.

The infrastructure should be:
 * Centralized
 * Scalable
 * Platform independent
 * Localized (to allow a global implementation)
 * Updated and synchronized
 * Available (to all employees who may need the information)
 * Integrated

Models of e-business
Models of e-business can be basically classified into three categories.

 * B2B - The Business to Business model of e-commerce deal with companies transacting with other companies and institutions. Many companies provide software as a service to other companies. These would be grouped in the B2B model. This model is usually implemented in the service sector.

 * B2C - The Business to consumer model deals with companies transacting with individuals. This is a common model wherein the company advertises its products or services through an electronic media such as the internet. The customer visits the media front end (usually a browser) and buys products using online payment methods.  In a B2C model the company takes the responsibility of the quality of the product, the safety of the online transaction and the shipping operation. Examples of sites operating on this model are Think geek, Amazon and Air Deccan.

 * C2C - The consumer to consumer model deals with consumers transacting with other consumers. The enterprise (e-business) here acts as an intermediary and facilitates transactions between consumers. In a B2C model the company usually does not guarantee the quality and the shipping time of the product.  The C2C  company has to have good content management systems  to handle the large amount of  products  displayed  and the  relatively large amount of  transactions. examples of businesses following the C2C  model are  eBay, Craigslist, Orkut.

title: Electronic Business


text:
Cookbook:Salt Cod and Potato Casserole (Bacalhau à Gomes de Sá)

| Fish

Bacalhau à Gomes de Sá is a Portuguese dish of salt cod and potatoes created in the 19th century by Gomes de Sá at the restaurant Restaurante Lisbonense in the city of Porto.

Ingredients

 * 2 lb (900 g) salt cod
 * 1 cup olive oil
 * 4 medium-sized onions
 * 1 tsp garlic, finely-chopped
 * 6 medium-sized potatoes
 * 20 pitted black olives
 * 6 hard-boiled eggs, sliced
 * 2 tbsp parsley, finely chopped

Procedure

 * 1) Starting the day before, soak the salt cod, refrigerated, in a container of water for 16–24 hours, changing the water 3–4 times.
 * 2) Drain and rinse the cod. Place in a saucepan and fill with water to cover the fish by 1 inch (2.5 cm). Bring to a boil and then simmer for about 20 minutes until the fish flakes easily when tested with a fork. Drain thoroughly and flake the fish coarsely, removing any skin or bones with a paring knife. Set aside.
 * 3) Boil the potatoes in their skins until easily pierced with a fork or skewer but not soft. Drain, cool and peel. Slice into ¼-inch (6 mm) slices. Set aside.
 * 4) In a heavy frying-pan, heat a ½ cup of olive oil over medium high heat for two minutes. Add the sliced onion and sauté for about 6–7 minutes until the onions are translucent and slightly brown. Stir in the garlic and remove from the heat.
 * 5) To assemble, lay half the potatoes in the bottom of a casserole. Cover them with half the cod and then half the onion. Repeat with the rest and drizzle the rest of the olive oil over the top.
 * 6) Bake for about 20 minutes in a 400°F/200°C oven until the top is lightly browned.
 * 7) Garnish with olives and hard-boiled egg slices. Sprinkle with parsley.
 * 8) Serve from the casserole with a cruet of olive oil and port vinegar on the side.


text:
Circuit Idea/Simple Op-amp Summer Design

<<< contents - source - page stage >>>

How to Simplify the Design of the Mixed Op-amp Voltage Summer

After the EDN's article Single-formula technique keeps it simple

Procedure idea: ''Supplementing the gains and imposing the requirement for equal equivalent input resistances simplifies circuit design.

Novel design procedure
It seems that there is nothing new to say about single op-amp amplifying circuits. Only, the innovator Dieter Knollman has suggested a new simpler design procedure in an EDN's article. He has also placed his work on the web. His idea is described more concisely in Electronics.

The active design procedure is based on the new Daisy's theorem and Plato's gain formula. The result is amazing especially for summing op-amp circuits with multiple positive-gain inputs: you can calculate the resistor values for each input by using the same formula Ri = RF/|gain|! It sounds wonderful, doesn't it? Only, in order to really understand things we, human beings, need to grasp the basic ideas behind them. Then, let's reveal the ideas behind this mystic procedure following the heuristic approach of the famous mathematician George Polya. For this purpose, we will cite the original text in an italic type and will interpret it in a normal type.

Of course, it would be best if the author tells how he has invented the procedure. So, we suggest contributing to this page.

Author - Plato's Gain Formula is a simplification of the General Summing Amplifier gain formula. The GSA formula is derived via K9 Analysis, a dog-gone simple way to obtain circuit equations.

What does Daisy's theorem mean?
Daisy’s Theorem tells: the sum of the gains in a single op-amp amplifying circuit is equal to 1. Only, don't you think that it seems quite strange to sum gains? It is far natural to think that voltage summers sum voltages! Then, let's examine this author's assertion.

Scrutinizing the material we will find out that Daisy's theorem concerns mainly parallel voltage summing circuits. What they are? Can such circuits exist at all (we usually think we must not connect in parallel voltage sources with different voltages)?

Daisy's comment - The theorem applies to linear circuits, with ideal voltage source inputs. The node voltage is a linear equation containing inputs and gain. The equation shows how via superposition each input contributes to the node voltage, the gain. The theorem applies to all nodes.

As you probably know, we can sum voltages directly by connecting the voltage sources in series (according to Kirchhoff's voltage law). In this series voltage summer, the whole input voltages participate in the overall sum:

VOUT = VIN1 + VIN2 + ... VINn

Only, a problem with the common ground appears - some input voltage sources or the load remain flying. Then, we can sum voltages indirectly by connecting the voltage sources "in parallel" through resistors (according to Kirchhoff's current law). In this parallel voltage summer, the input voltages are weighted by coefficients αi (< 1, in case of passive summer) or gains Gi (> 1, in case of active summer):

VOUT = α1.VIN1 + α2.VIN2 + ... αn.VINn

The equation simply means that the circuit is linear, superposition applies.

In this common case (Fig. 2), the parallel summer sums products of gains and voltages. Now imagine that all the input coefficients αi (or gains Gi) are equal to 1. As a result, the summer will sums voltages as above - VOUT = VIN1 + VIN2 + ... VINn. Well, why do not we assume that all the input voltages are equal to 1V? In this case, the summer will sum coefficients (gains) - GOUT = GIN1 + GIN2 + ... GINn; now, the output voltage represents the overall gain! An example: a DAC is just a summer with digital-controlled binary-weighted input voltages (at constant input resistances) or gains (at constant input voltages equal to the reference voltage VREF).

Maybe, the best way to understand what Daisy's theorem means is to apply it to various summing circuits. Well, let's begin!

Passive summer

Let's first prove Daisy's theorem in the case of the simplest passive parallel summer. We may observe the parallel summing phenomenon in nature and our routine: (input) power sources connected in parallel through some "resistances" to the same (output) point where their influences are superimposed. For example, imagine how sources fight each other like as people in the game tug of war or arm wrestling.

Similarly, in an electrical passive parallel voltage summer (Fig. 3) the input voltage sources are connected "in parallel" through resistors to the same output point. The sources try to change the output voltage by "sucking" or "blowing" a current from/through the common point. As a result, their influences (voltages) are superimposed in the output point.

Why is there a need of resistances at all? Well, zero one resistance and you will see that the corresponding source completely controls the output—the output no longer depends on any of the other sources. It's no longer the "summer" we wanted. Zero two or more resistances? Even worse than zeroing just one—it directly shorts the voltage sources in a damaging short-circuit. The resistances are necessary to allow every input to have some influence on the sum.

The resistors continuously dissipate power.

After this intuitive viewpoint at the bare summing circuit let's make a bit more serious analysis. Regarding to each input, the summing circuit is a voltage divider composed by two resistances: the input resistance (Ri1, Ri2 or RG) and the equivalent resistance of the remaining resistances (Ri2||RG, Ri1||RG and Ri1||Ri2). Note that the third input voltage is zero (the corresponding resistor is just connected to the ground). In this way, the inputs attenuate the voltages by coefficients α1, α2 and αG according to the well-known voltage divider formula (Fig. 3).

Now, if we sum the input coefficients, we establish an interesting fact: the sum of the input coefficients is 1! When we decrease one resistance, its coefficient increases while the others decrease and v.v.; the coefficients shade one into other! We have reached a conclusion that the bare passive summing circuit obeys Daisy's theorem!

Only, what do we do, if we would like to set arbitrary input coefficients? What if we want ones that do not sum to 1? Eureka! We can connect an additional resistor to the ground with a complementary coefficient! This "parasitic" ground resistor will take off gain from the input coefficients; it acts as an attenuating element. Example 1: If we have chosen α1 = 0.4 and α2 = 0.6, there is no need of a ground resistor because their sum is exactly 1. Example 2: If we have chosen α1 = 0.4 and α2 = 0.4, there is a need of a ground resistor with α1 = 0.2; it adds the sum up to 1.

If you convert this circuit into a Norton equivalent circuit, the analysis becomes trivial.

Non-inverting summer

If we would like the summer to amplify, we may connect a non-inverting buffering amplifier with gain K after the bare summing circuits (Fig. 4). Obviously, in this case, the sum of the input gains will appear to constitute K:

(α1 + α2 + α3).K = K

In this arrangement, the function of the ground resistor is the same as above: it lets us set arbitrary input coefficients (not only complementing to K). Here, it takes off gain from the input gains but the overall sum remains equal to K.

Daisy's theorem states that the sum is always equal to one, at the amplifier input and also at the output. The amplifier must have a hidden ground that will have a gain of (1-k).

If you construct a complete schematic for this circuit, you may notice that the circuit has a ground resistor on both op-amp inputs. This will degrade performance.

Moral - Always use complete schematics.

Inverting summer

Whenever possible, we prefer to use the clearer inverting summer. The inverting summer is easy to design, but provides inferior performance. Moral - K9 is simple for all cases. Design for performance.

The idea of this clever circuit (Fig. 5) is simple: the op-amp "neutralizes" the "disturbing" output voltage of the imperfect passive summing circuits by an equivalent "antivoltage"

The inverting summer like as the non-inverting one has weighted inputs. If we assume that the gain of the equivalent non-inverting amplifier is K, we can establish that the sum of the input negative gains constitutes K-1:

G1 = RF/Ri1, G2 = RF/Ri2, G3 = RF/RG

G1 + G2 + G3 = RF*(1/Ri1+1/Ri2+1/RG) = RF/(Ri1||Ri2||RG) = K - 1

It is interesting to see what happens, if we add a ground resistor to the inverting input. Now, it adds gain to the overall sum without affecting the other inverting input gains.

Here's another example of an incomplete schematic. The (+) op-amp input is not shown. The circuit will not function without a (+) input.

Daisy's theorem only applies to complete circuits. This circuit will be rejected by SPICE. It's easy to construct figures that violate circuit principles.

Moral - The internet contains contains many circuit figures that can't function. You need to recognize these.

Mixed summer

Usually, op-amps have differential inputs (if we need only a bare single-input, we just ground the "unused" input). So, we can connect summing circuits to both non-inverting and inverting inputs. In this way, we obtain a universal summing-subtracting circuit - Fig. 6 (the author has named it general summing amplifier).

Looking from the positive-input side, the sum of the positive input coefficients (between the sources and the non-inverting op-amp's input) is as usual 1 and the sum of the positive input gains (between the sources and the op-amp's output) is K.

Looking from the negative-input side, the sum of the negative input gains (between the sources and the op-amp's output) is K - 1. As a result, (the sum of the positive gains) - (the sum of the negative gains) = 1. Wonderful! The circuit obeys Daisy's theorem!

How does a ground resistor affect the circuit? Adding a ground resistor to the non-inverting input takes off gain from the positive input gains but the overall sum of gains (caused by the non-inverting inputs) remains equal to K. The reason: the ground resistor does not affect the negative feedback.

Adding a ground resistor to the inverting input doesn't affect the other inverting input gains but it increases proportionally the positive input gains. The reason: the ground resistor affects the negative feedback. This action increases both the sums (inverting and non-inverting) but the difference remains as before equal to 1. Maybe, these observations have given an idea to the author to introduce a coefficient p into Plato's formula...

p is needed if a circuit has not been optimally designed.

A better circuit, but not without problems. Since Rg is connected to the (-) op-amp input, it may not be equal to zero. Plato's gain formula reveals this. Rg is in the denominator.

Some mixed sum circuits will Rg connected to the (+) input. A short is allowed here.

Moral - Don't trust simple circuit tricks. Look at formulas and assumptions.

Non-inverting amplifier

The author claims that even the most elementary op-amp amplifying circuits obey Daisy's theorem. Then, let's examine this assertion beginning by the classic non-inverting amplifier.

We can think of a non-inverting amplifier just as a "degenerated" summing-subtracting circuit, if we assume that the ground acts as another input (...most op-amp circuits are a subset of the general summing circuit; for example, a non-inverting amplifier would have a single positive input and a single negative input that is connected to ground...).

Well, let's see, if the circuit obeys Daisy's theorem:

Gi + G0 = K - (K - 1) = 1

It obeys the theorem!

It even works for the most elementary circuit, a short from input to output. V(out) = 1 * Vin

Inverting amplifier

Similarly, we can think of an inverting amplifier as a "degenerated" summing-subtracting circuit assuming again that the ground acts as another input (...for example, an inverting amplifier would have a single positive input that is ground and a single negative input...).

Let's see again, if the circuit obeys Daisy's theorem:

G0 + Gi = K - (K - 1) = 1

It obeys the theorem too!

Differential amplifier

Actually, the inverting and non-inverting amplifiers are differential circuits that subtract the input voltage from the "ground" voltage. From this viewpoint, the ground voltage is just an input voltage. Only, they are unbalanced circuits because the two input gains differ by 1. We can balance the circuits, if we decrease by 1 the non-inverting input gain or, if we increase by 1 the inverting input gain. The first technique is more popular; it leads to the classic circuit of an op-amp differential amplifier.

In this circuit, the non-inverting input resistor Ri1 and the ground resistor RG constitute a voltage divider, which attenuates two times the input voltage. Let's see, if the circuit obeys Daisy's theorem:

Gi1 + G3 + Gi2 = α1.K + α3.K - (K - 1) = 0.5K + 0.5K - (K - 1) = 1

It obeys the theorem too!

What is the role of the "ground resistor"?
Finally, let's generalize the role of the ground resistor in all the circuits discussed.

The ground resistor adds the gain needed in the case when the sum of the signal gains does not constitute 1.

Three cases are possible:

1. If the signal gain sum is more than 1, we connect a ground resistor to the inverting op-amp input.

2. If the signal gain sum is less than 1, we connect a ground resistor to the non-inverting op-amp input.

3. If the signal gain sum is exactly 1, we do not connect a ground resistor.

Is the ground resistor a "parasitic" component? Not always! For example, in the circuit of an inverting amplifier, it is a vital element! Give example where it is a "parasitic" component.

Daisy's theorem shown when a ground resistor is needed.

What does Plato's formula mean?
Plato's gain formula tells: the "non-inverting" gains Ri are proportional to the ratio between the "feedback" resistor RF and the input resistance Ri. What does it mean?

Once we defined the gains (by using Daisy's theorem), we have to determine the magnitudes of the circuit resistors. There is no problem to calculate resistances connected to the inverting input; only, it is too difficult to calculate the resistances connected to the non-inverting input. Fortunately, the author has managed to find out an interesting relation (he has named it Plato's formula ): the "non-inverting" gains Ri are proportional to the ratio between the "feedback" resistor RF and the input resistance Ri:

Gi = p.RF/Ri

The coefficient of proportionality p is the same for all the positive gains and is equal to the ratio between the two equivalent resistances connected to the op-amp inputs:

p = Re(+)/Re(-)

If the equivalent resistances are equal (this is just what we want, in order to minimize bias-current error), then p = 1 and Gi = RF/Ri.

It is really doggone simple! It sounds wonderful! Only, we would like to know what the idea behind Plato's formula is. As the author has hidden the idea, let's try to reveal it by ourselves.

Author - There is no circuit trick, just K9 Analysis (a simplified form of Node Analysis). The intent of K9 is avoid tricks and to make Analog Circuit Design and Analysis Dog-Gone Simple.

A key for understanding: equalizing the input resistances
Obviously, we have to find some relation between the circuit parameters that can help us to simplify the calculations. Well, let's try using the requirement for equal equivalent input resistances Re(+) = Re(-), which minimizes the error caused by the input bias currents. What is this mean?

If the equivalent input resistances connected to the op-amp inputs are different, the op-amp input bias currents produce different voltages across the resistances; their difference acts as an undesired differential input voltage. In order to compensate this harmful voltage, we can make equal the two equivalent input resistances (a favorite compensation technique in op-amp design). Usually, this means to connect an additional resistor between the op-amp input having lower resistance and the ground; its resistance is equal to the equivalent resistance connected to the other input. As a result, the op-amp input bias currents produce equal voltages; their difference acts as a common-mode input voltage that is rejected by the op-amp.

Well, let's now apply this technique to the same op-amp summing circuits, in order to reveal the idea behind Plato's formula.

Op-amp inverting amplifier

Let's begin with the op-amp inverting amplifier illustrated in Fig. 10. Some people "simplify" this circuit by replace RG with a zero value resistor (a wire). This simplified circuit consists only of two phyical resistors and an op-amp. The resulting RG = 0 circuit seems to violate Daisy's theorem.

When we set RG = 0, the equivalent input resistances are very different (Re(+) = 0, Re(-) = Ri||RF). Theoretically (with an ideal op amp) this seems to be OK. But when we use a real op-amp, its equal input bias currents flowing through the these unequal equivalent input resistances cause an undesired offset voltage.

To compensate, we replace the zero-ohm wire, between the "+" input pin and the ground with a real resistor RG. Equalizing equivalent input resistances requires RG = Re(-) = Ri||RF (Fig. 10).

Now, if we substitute the term Ri/(Ri + RF) with K (the gain of the equivalent non-inverting amplifier), we will get the Plato's formula for the inverting amplifier:

RG = RF/K = RF/G0

The ground resistor RG does not define the ground gain; it only compensates the undesired voltage drop caused by the input bias current.

And so Daisy's Theorem is true of a properly compensated inverting amplifier.

(Compared to the properly compensated circuit, the "simplified" RG = 0 circuit has degraded performance).

Op-amp non-inverting amplifier

Then, let's consider the next elementary op-amp amplifying circuit - the non-inverting amplifier. Following the same compensation technique, we connect an additional resistor between the input voltage source VIN and the op-amp non-inverting input having resistance Ri = Re(-) = RG||RF (Fig. 11).

Now, if we substitute the term RG/(RG + RF) with K (the gain of the non-inverting amplifier), we will get the Plato's formula for the non-inverting amplifier:

Ri = RF/K = RF/Gi

As above, Ri does not define the voltage gain; it only compensates the undesired voltage drop caused by the input bias current.

(Like the "simplified" inverting amplifier, the "simplified" Ri = 0 non-inverting amplifier has degraded performance when compared to a properly compensated non-inverting amplifier).

Op-amp non-inverting summer

It is time to consider a real summing circuit; let's begin with the simpler op-amp non-inverting summer (Fig. 12).

Here, there are already some resistances connected to the op-amp inputs; we have only to equalize them, in order to minimize the input bias current error:

Re(+) = Re(-),  Ri1||Ri2 = RG||RF

Now, if we substitute the term RG/(RG + RF) with K (the gain of the op-amp non-inverting amplifier) and αi.K = Gi, we will get again Plato's formula for the non-inverting summer:

Ri = RF/K = RF/Gi

(αi is the ratio between the voltage at the non-inverting input and the input voltage while Gi is the ratio between the op-amp output voltage and the input voltage).

Note that the "ground" resistor RG is a vital element in this circuit!

Op-amp mixed summer
Finally, let's see, if the universal summing-subtracting circuit obeys Plato's formula. Again, we equalize the input equivalent resistances, in order to minimize the input bias current error:

Re(+) = Re(-),  Ri1||Ri2 = Ri3||RG||RF

After we substitute the terms as above, we will see that really the most complex summing circuit obeys Plato's formula: Ri = RF/K.

Plato's formula illusions
Note that Plato's formula cherishes the illusion that calculating the non-inverting gains is as simple as inverting ones and the non-inverting gains are independent. Only, if we consider the case when we have defined the gains but later we have to change some of them, we will establish the fact that after we have recalculated the input resistor we have to recalculate the ground gain (Daisy) and ground resistor (Plato).

Plato - There is no illusion in K9. Whenever you change a gain,you need to calculate two new resistor values namely the input resistor and the ground resistor. The only difference between inverting and non-inverting gains is the op-amp input that they connect to. In mixed gain circuits, a gain change may move the ground resistor connection. Daisy tells you where to connect. Legacy analysis can only handle negative gain changes and only if you don't need a balanced circuit. Legacy promotes the illusion that positive and mixed gains are difficult. Doesn't have to be. The K9 procedure is not only simpler, but better.


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Turkish/Contributions to this Wikibook

Contributions
Contributions have been made to this Wikibook by the following:
 * I.P. address 195.174.81.84 - created this book
 * Runningfridgesrule - extreme heavy-duty revamp
 * User:Srhat
 * User:khateeb88 - Currently learning Turkish and will help in any way I can, especially vocab
 * User:Sinus46 - Revamps in the grammar section

If you have contributed to this book in any way, please do not hesitate to add yourself to this list, with your Wikibooks username (if not your I.P. address) and what you have done for the benefit of this book.

Please make sure you read Turkish/About this book before contributing so that this book can have a consistent style.

Templates

 * Please don't forget to add Turkish/TOC template to the bottom of each page.
 * Also please use Turkish/Navigation template to make navigation easier.
 * You can use Turkish/Letter template to give link to a letter's description page
 * Use Turkish/Tooltip template to add a text with tooltip (i.e. explanations that become visible when the user hovers its mouse pointer over the text)
 * Use tr/word or templates to add tooltip for Turkish words.
 * Use tr/suff or Turkish/Suffix template to add tooltip for suffixes. Because this template has predefined suffixes and knows which letters are changeable, you don't need to write tooltip and color the changeable letters. If the suffix you used with this template doesn't have a predefined tooltip, add that suffix and its explanation to Turkish/Suffix/Predefined.
 * Use turkish/c or template to color text to emphasize something (to indicate changeable letters etc.)
 * Use Turkish/Table to create tables, see Turkish/Pronunciation and Alphabet/Consonant Classifications and Harmony page for usage examples.
 * Use Turkish/Box to create collapsible or normal boxes for exercises, notes to the reader, etc. See Turkish/Pronunciation and Alphabet/Vowel Classifications and Harmony for usage examples

For usage instructions, see template pages.

To do list

 * Tense pages on the "grammar" section should look like Turkish/Seen Past Tense.

title: Turkish/Contributions to this Wikibook


text:
Using Ubuntu Linux/Ubuntu Variations

The Linux ecosystem is diverse and allows for a multitude of desktop environments to be built for it. Many are packaged in their own flavours of Ubuntu.

Official Editions

 * Ubuntu for desktops: This is the main Ubuntu version, also known as Ubuntu Desktop. All other versions of Ubuntu are based on it. It uses the Unity desktop environment. Recommended requirements are 1 GiB of RAM and 5 GB (minimum) of Hard Drive space.

 * Ubuntu Server: This edition strips the desktop features for server capabilities, and allows you to have a fully working LAMP (Linux, Apache, MySQL, PHP) Web Server up and running in less than an hour. It requires at least 192 MiB of RAM and 5 GB Hard Drive space.

Supported Derivatives
Flavours are listed according to this downloads page.

 * Kubuntu: The KDE spin, featuring KDE versions of software. Emphasizes productivity over general purpose use.

 * Mythbuntu: A Xubuntu spin designed to make building your own DVR (Digital Video Recorder) using the MythTV software suite as easy as possible.

 * Lubuntu: A scaled down variant of Ubuntu that is lighter, less resource hungry and more energy-efficient by using lightweight applications and LXDE, the Lightweight X11 Desktop Environment, as its default desktop environment. It's geared towards low-spec hardware that doesn't have enough resources for all the bells and whistles of the "full-featured" mainstream distributions.

 * Ubuntu Budgie: A spin of Ubuntu using Budgie as its desktop environment (developed for Solus, another Linux distribution).

 * Ubuntu GNOME: Uses the GNOME desktop environment instead of Unity.

 * Ubuntu Kylin: Geared towards Chinese users.

 * Ubuntu MATE: Goes closer to Ubuntu's origins by using the MATE desktop environment.

 * Xubuntu: A lightweight version of Ubuntu that uses the XFCE environment. The standard applications are a 50/50 mix of GNOME and XFCE-centric programs. This version is geared towards older hardware.

 * Ubuntu Studio: An unofficial, community-built Ubuntu derivative geared towards Musicians, Digital Artists/Designers, and Movie Makers.

Other Derivatives

 * Edubuntu: This version includes applications geared toward education. A KDE version and a GNOME version exists. It is recommended to install the Standard Edition as the website has not been updated to distribute 16.04 LTS images.

title: Using Ubuntu Linux/Ubuntu Variations


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Using Ubuntu Linux/Getting Started

There are a few ways to get Ubuntu on your system, some take more commitment than others.

Online Tour
You can take the online Ubuntu tour if you want to try Ubuntu without a Live CD.

Live Disk
When you have your Ubuntu CD it is possible to boot your computer directly from it. Your computer system will remain completely unaffected, allowing you to sample Ubuntu without actually installing it. Booting from a live disk is only really used to try Ubuntu out, as when you switch off, all settings are lost. Using Ubuntu Linux/Live Boot

Virtual Machine
To run a fully fledged operating system you don't even need to boot up from it; using a virtual machine it is possible to start Ubuntu (or most other operating systems for that matter) inside Windows; this method has its advantages over Live Disk in that it is more permanent, it's like actually having the operating system. So if you liked the live disk and wanted to try it out further, this would be the option. Using Ubuntu Linux/Virtualization

Dual Boot
Now we're getting more serious. So you want to install Ubuntu, but you don't want to lose Windows, it's easy enough setting up a dual boot system, where windows is sitting on one part of your hard drive and Ubuntu on the other. You can only boot one at a time, but you can still keep Windows there if you don't want to take the full leap. The big disadvantage of dual booting is that it (most of the time) requires you to format your hard drive, wiping your existing Windows installation. Using Ubuntu Linux/Installing

Complete Microsoft Takedown
That's it, you're fed up with Windows and want it out of your life, then so be it! This process involves installing Linux Ubuntu completely on your hard drive. Using Ubuntu Linux/Installing

title: Using Ubuntu Linux/Getting Started


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Template talk:Closed

Is anyone else having trouble getting ~ to work in this template? I think it's the undefined tags in my signature - is there any way to get the template to render it properly?  – Mike.lifeguard  | talk 16:35, 5 August 2007 (UTC)

Stop hand
I kind of liked the stop hand, how do people feel about bringing it back? Thenub314 (talk) 11:56, 25 June 2010 (UTC)
 * The whole point of the reformat was to address Kayau's issue with the stop hand. Also, it's been tweaked slightly where you want to use with no space after the pipe, or it preformats the text. – Adrignola talk 12:03, 25 June 2010 (UTC)
 * Fair enough, but it wasn't a point I agreed with. Maybe we can find some other way to find a compromise, we could turn the background a shade of red? Or instead use something a little softer, like Emblem-important.svg. I will play around and see if I can find something I like. Thenub314 (talk) 12:50, 25 June 2010 (UTC)

 * PS The second point might explain why I got confused about some formatting earlier. Thenub314 (talk) 12:52, 25 June 2010 (UTC)
 * How do you like the changes I made? Do you think this could benefit from using a collapsed box? Could make reading discussions still open easier. A collapsed box could also help to emphasize that the discussion has been closed. --dark lama  22:24, 25 June 2010 (UTC)
 * I think a collapsed box would be great, using class="collapsed" on a table rather than NavFrame divs. The heading row can show the closing comment with the discussion inside the collapsed zone.  A good idea. – Adrignola talk 22:27, 25 June 2010 (UTC)

 * As far as images go I like a bolder warning sign instead of a quieter info symbol. That being said, if this were collapsible I think the point would come across even better.  So I say we either make it collapsible or tweak the icon to give the sense of warning instead of information. Thenub314 (talk) 14:58, 28 June 2010 (UTC)

So much for phasing out the NavFrame class. – Adrignola talk 12:32, 30 June 2010 (UTC)

Multiple changes
I made multiple changes that I felt were aesthetically good. These are proposals and I kind of expect some of these are going to be reverted or at least opposed. I was being bold. --Dan Polansky (discuss • contribs) 17:24, 22 March 2016 (UTC)

title: Template talk:Closed


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User:Alharris

Amy Lavender Harris teaches in the Department of Geography at York University in Toronto, Canada. Her current research, the Imagining Toronto project, explores intersections of literature and place in the Toronto region.

Amy is a contributing writer at Reading Toronto and a contributing editor with Spacing magazine, where she writes a regular column on Toronto literature and the imaginative qualities of cities.

Amy has been a Wikipedia contributor since 2006, and joined Wikibooks out of curiosity and a desire to contribute to the free dissemination of knowledge.

title: User:Alharris


text:
User talk:68.92.156.129

Imposter
And that would interest me specifically - why? -- Herby talk thyme 17:11, 5 August 2007 (UTC)

 * And this IP has too many spam blacklistings for me to be comfortable! -- Herby talk thyme 17:20, 5 August 2007 (UTC)

title: User talk:68.92.156.129


text:
Prolog/Graphics: XPCE

XPCE is the so-called Prolog graphic library, although it isn't Prolog at all. Like they mention in it's manual, XPCE is not Prolog; XPCE is an object-oriented language that has absolutely nothing to do with Prolog.

The first thing that we need to do to create applications in XPCE is to install Swi-Prolog. You can find it at it's distributor page.

The page about XPCE is http://www.swi-prolog.org/packages/xpce/.

to be continued...

Prolog/Programação com GUI

title: Prolog/Graphics: XPCE


text:
User talk:Susoespartinas

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. -- Herby talk thyme 17:25, 5 August 2007 (UTC)

Prolog/Graphics: XPCE
Thanks for this contribution however this is English Wikibooks and so teh page is outside the project scope - thanks -- Herby talk thyme 17:25, 5 August 2007 (UTC)

I translated it, it's in english now. Marky1991 05:18, 21 September 2007 (UTC)

title: User talk:Susoespartinas


text:
Cookbook:Salt cod

| Basic foodstuffs | Seafood | Fish

Salt cod is cod which has been preserved by salting, drying or both.

Recipes

 * Bacalhau à Gomes de Sá

title: Cookbook:Salt cod


text:
Cookbook:Cod

| Basic foodstuffs | Seafood | Fish

Cod is a popular food fish, though it is currently significantly overfished.

Characteristics
Cod flesh is thick and white, with a mild flavor and very flaky, lean texture once cooked. It is often preserved by drying and/or salting. Salting, in particular, changes the ultimate flavor and texture of the meat, making it chewier and slightly less "fishy".

Selection and storage
When selecting fresh cod, look for moist, not dry flesh. Avoid any fish that is acutely slimy or that has off odors. Fresh cod does not last very long, keeping only a couple days in the fridge. Conversely, salt cod has an extremely long shelf life, keeping for months. Look for salt cod that is still slightly pliable instead of stiff as a board.

Use
Cod is extremely versatile and popular, with a variety of applications. Fresh cod can be prepared in almost every style of cooking except for grilling, where it has a tendency to break apart due to its texture. It is commonly fried or flaked and turned into cakes, and it is also included in chowders. Salt cod must be soaked in multiple changes of water over the course of a day to make it ready for cooking—after this, it can be flaked and fried or used in stews or other preparations.

Substitution
If cod is not available, or if you wish to avoid it due to its overfished status, many thick, firm-fleshed, mild fish can be used as a substitute. Haddock is one example of these.

title: Cookbook:Cod


text:
Cookbook:Mortadella

| Basic foodstuffs

Mortadella is a large Italian sausage (salume) made of finely hashed/ground heat-cured pork sausage which incorporates at least 15% small cubes of pork fat (principally the hard fat from the neck of the pig). It is flavoured with spices which include black pepper (whole corns or ground), myrtle berries, nutmeg, coriander and typically pieces of pistachio nuts. Traditionally the pork filling was ground to a paste using a pestle and large mortar (mortaio). A similar commercial product, called "bologna", "bologna sausage" or "baloney", and often omitting the cubes of pork fat, is popular in the United States. It is also known as "polony" in the United Kingdom and some countries in the Commonwealth of Nations.

title: Cookbook:Mortadella


text:
Muggles' Guide to Harry Potter/Books/Deathly Hallows/Chapter 22

Synopsis
Hermione sets up the protective spells. She wanted the Death Eaters to see Harry so they would know that Xenophilius Lovegood had not lied, while Ron was hidden because he is supposed to be confined at home with Spattergroit; if Luna is a captive due to Xeno's actions, then the Weasley family would be in peril if Death Eaters knew Ron was with Harry. Her own parents are safe in Australia, their memories modified.

Hermione complains that visiting Xeno Lovegood was a waste and discounts the Three Brothers fairy tale. But Harry is drawn to it—being able to conquer death and not be killed by Voldemort fuels his imagination, giving him hope. Ron agrees with Harry that Xeno fabricating such a story while under intense pressure, trying to detain Harry, would be difficult. Ron also recaps Hermione's significant evidence supporting the Elder Wand's existence. Harry counters Hermione's claim that the dead can never be resurrected; his father and mother, and Cedric emerged from Voldemort's wand. Seeing Hermione's and Ron's wary expressions when he mentions resurrecting the dead, he changes the subject to the Peverells. They are among the oldest Wizarding families recorded, and though the male line bearing the name died out long ago, Hermione says there could be female descendants. Harry suddenly recalls Marvolo Gaunt, You-know-who's grandfather, showing the Ministry representative a ring bearing the Peverell symbol to prove their ancestry. Harry believes the ring, having the Deathly Hallows symbol scratched on it, contains the Resurrection Stone. He also remembers that Dumbledore had borrowed his father James' Invisibility Cloak, and deduces that Dumbledore believed it was a Hallow. Recalling the Three Brothers' tale, Harry wonders if the person who holds the three Hallows' can master Death, and will it come down to him against Voldemort? Hallows against Horcruxes? He also guesses that Dumbledore left him the Snitch because the Resurrection Stone is inside.

Harry is convinced that Voldemort is seeking the Elder Wand to defeat Harry and destroy Harry's wand. Hermione, however, thinks Ron and Harry are making a fairy tale into reality; Harry should only follow Dumbledore's clear instructions to destroy Horcruxes. Over the next week, however, Harry becomes obsessed with the Deathly Hallows. He is certain the Resurrection Stone is somehow hidden inside the Snitch, but he is still unable to open it or understand its cryptic inscription, "I open at the close." Ron and Hermione urge Harry to instead concentrate on the Horcruxes rather than the Deathly Hallows.

Ron gradually takes charge of the mission, suggesting new places to search. One night in March, he is finally able to tune in the wireless to "Potterwatch", the radio show he has been looking for since Christmas. Produced by Lee Jordan, "Potterwatch" is the only wireless program that reports the truth; everyone else toes the new Ministry line. Tonight, Lee reports that Ted Tonks, Dirk Cresswell, and the Goblin, Gornuk, have been killed. Dean Thomas and a second Goblin are believed to have escaped. Lee also mentions that Bathilda Bagshot is dead. Following Lee's report, Kingsley Shacklebolt speaks about Muggle casualties, and issues a plea to assist them against Death Eater depredations. Lupin then explains why he is certain Harry is alive. Following this, there is an opinion piece by either Fred or George about how "You-know-who" cannot be everywhere he is reported, as there would have to be about nineteen of him. Finally, Lee Jordan closes with a plea for calm.

After the show, Harry accidentally speaks Voldemort’s name, collapsing the protective enchantments around the tent. Snatchers immediately surround them.

Analysis
Harry's reactions to the Deathly Hallows are seen here. The possibility that his parents could be resurrected tantalizes Harry, as well as the protection the Hallows might afford him against death. Harry's focus on the Hallows forms the backdrop to Ron's largely taking charge. Harry has been left confused and rudderless, first by Dumbledore's leaving him without guidance, and second by his distraction over the Hallows; Ron steps into this leadership void, undergoing a significant change as he does. No longer a passive and insecure follower, his guilt over his brief desertion, as well as Hermione's severe chastisement, have propelled him into a becoming a more mature, confident, and proactive young man who assumes responsibility in guiding the others, relieving Harry and Hermione from many day-to-day burdens. Though Harry will once again assume the mission's leadership role, from here on, Ron never again dwells contentedly in others' shadows, and begins charting his own life's course.

The wireless (radio) once again comes into focus after Ron successfully tunes in Potterwatch, the one program reporting the truth about Harry, Voldemort, and the ongoing war. During conflicts, communication like this becomes extremely important in disseminating truthful information amidst overwhelming propaganda that is usually being spread, while it also helps rally and unify allies. Although Harry only hears the program once before capture, he is comforted and feels reconnected to old friends, uniting them in the fight against Voldemort. It also bolsters Harry's morale, allowing him to fully realize that this is not his battle alone.

Another interesting plot point is highlighted. The Trio agrees that Harry's Invisibility Cloak could actually be the one from The Tale of the Three Brothers, which Xenophilius claims may have been the Peverells. The youngest brother bequeathed the Cloak to his son. Considering Harry received the Cloak from his father, it is possible that it was handed down to him through the generations, making him a direct Peverell descendant. Harry and Voldemort could share a common Peverell ancestor, not that blood ties account for much anymore as Wizarding families are ripped apart by Voldemort's war. As seen in Sirius Black's family, close relatives, divided by their blood-purity beliefs and loyalties to Voldemort, will readily disown and even kill one another.

Review

 * 1) Why is Harry so interested in the Deathly Hallows? Why do Ron and Hermione think he should only concentrate on hunting Horcruxes?
 * 2) How and why does Ron take charge of the mission?
 * 3) Was the visit to the Lovegoods a waste as Hermione claims? If not, why?
 * 4) How does listening to Potterwatch affect the Trio?

Further Study

 * 1) Knowing that Ghosts exist, why would Hermione be so skeptical about the Resurrection Stone?
 * 2) What might the inscription on the Snitch that Harry still carries, "I open at the close", mean?
 * 3) Why might Dumbledore have wanted Harry to know about the three Hallows?

Greater Picture
Although Hermione believes the Lovegood visit revealed nothing important and she discounts The Three Brothers tale, like the trip to Godric's Hollow, information has been provided that the Trio has yet to realize is important to their mission. The Deathly Hallows will be tied to defeating Voldemort, although Harry's initial interest in them is unrelated. To someone who has lost many loved ones, a Resurrection Stone is a particularly desirable and seductive object to possess, and Harry reconsiders that magic could reunite him with his parents. And while Hermione wants to stick with Dumbledore's plan to only search for Horcruxes, Harry's continuing fascination with the Hallows and his hope to be reunited with his parents will eventually help him work out their significance. Meanwhile, the revelations about Dumbledore's past still trouble Harry, and his faith and trust in his Headmaster continues to waver. Harry also doubts whether Dumbledore ever really cared for him and wonders if he is merely a pawn in Dumbledore's scheme to defeat Voldemort. These doubts will linger, to a greater or lesser extent, until Harry speaks with Dumbledore's shade in a later chapter.

As Dumbledore's shade admits later to having expected, Harry becomes infatuated, as did the youthful Dumbledore, with the Hallows. Like Dumbledore, Harry sees them as a means to regain his lost family; additionally, he believes them to be a safeguard against Voldemort's expected murderous attack. The Hallows' attraction remains strong until after Harry escapes Malfoy Manor. Following that, Harry will choose to only seek and destroy Horcruxes, though that decision will torment him, particularly after he learns that Voldemort has claimed the Elder Wand.

As noted, Ron is now leading the mission, as Harry, infatuated with the Hallows, endlessly debates whether to search for the remaining one, or to continue hunting Horcruxes. When Harry overcomes his fixation and returns to himself in Malfoy Manor, Ron once again drops to the sidelines. However, we will see that he has gained a certain capacity for independent action that was previously lacking. This will be evident particularly after the Trio return to Hogwarts, where Ron, accompanied by Hermione, takes it upon himself to re-enter the Chamber of Secrets to retrieve Basilisk fangs to destroy the Cup Horcrux.


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Muggles' Guide to Harry Potter/Books/Deathly Hallows/Chapter 20

Synopsis
The next morning, Hermione and Ron remain distant, though Ron is quite cheery when he and Harry are alone. Their recent upswing in luck, with Ron's return, recovering the Sword of Gryffindor, and destroying the Locket Horcrux, has created a more optimistic mood. Each updates the other about recent events, and Ron reveals that Voldemort's name is jinxed to trace anyone speaking it and to break protective spells. That is how Death Eaters found them so quickly in Tottenham Court Road. They speculate about who conjured the doe Patronus, and discuss Dumbledore and Grindelwald's close friendship.

Ron mentions a radio program, Potterwatch, that reports accurate news. A password is needed to tune it in, and Ron missed the last show. Hermione suggests visiting Xenophilius Lovegood. Dumbledore's letter to Grindelwald, reproduced in Rita Skeeter's book, contains the same symbol that Mr. Lovegood was wearing, that is inked in The Tales of Beedle the Bard, and is engraved on the Peverell tombstone. Harry is reluctant after their recent Godric's Hollow misadventure, but Hermione insists these connections are important. Ron sides with Hermione, noting that Xenophilius has lately been publishing pro-Harry articles in the Quibbler, though Harry suspects Ron is only trying to regain Hermione's favor.

The next morning the Trio Disapparate to Ottery St. Catchpole, a village near The Burrow and close to the Lovegoods (who were first mentioned in book 4). After walking a bit, a strange-looking cylindrical house appears, and three hand-painted signs indicate that the editor of The Quibbler resides there. Odd plants and creatures that Luna has either worn or mentioned line the path. An unkempt-looking Xenophilius Lovegood answers the door and only reluctantly invites the Trio in. Inside, Xeno, appearing anxious, quickly covers his printing press and resists Ron's and Hermione's requests to help Harry, despite having urged his readers to do so. Asked about Luna, Xeno claims she is fishing at the stream. Harry notices a stone statue of a woman wearing a bizarre-looking headdress. Xeno explains that the statue is modeled after Rowena Ravenclaw wearing her now-lost Diadem. Harry asks about the symbol Xeno wore to Bill and Fleur's wedding. Xenophilius indicates that it is the sign of the Deathly Hallows.

Analysis
Several non-human elements play a critical role in this chapter in addition to human ones. This is the first time an identifiable Ravenclaw artifact has been mentioned. While some fans speculated that the wand in Ollivander's shop window may have been Ravenclaw's, now a specific object has been positively connected with her. Knowing that we are looking for artifacts the four Hogwarts Founders once owned, attention should probably be paid to Ravenclaw having had a diadem that people have been searching for. (A diadem is a jeweled ornament in the shape of a half crown, worn by women and placed over the forehead, also called a tiara.)

Also, the radio, or wireless as it is also known, is important because it demonstrates that there are ongoing underground communication channels to provide truthful information about Harry Potter, Voldemort, and the war. Like Xenophilius Lovegood's stories in The Quibbler, the Potterwatch wireless program helps to inform and rally the wizarding community by airing accurate news and updates. By acting as a unified voice, it creates solidarity among wizards and encourages its listeners, who have either been too fearful or uninformed, to resist the Dark Lord and his Death Eaters. These broadcasts are similar to how radio maintained communication with populations suppressed by war and, later, communism in the mid-20th century. It also shows the powerful effect the media can exert over the masses; whether this power is used for good or evil depends on those controlling it and how and what information is disseminated. If Ron can tune in the "Potterwatch" program, it should become an essential tool, not only for providing the Trio current information about Voldemort, their allies, and the war, but to help Harry reconnect ties to old friends and align himself with others who are fighting a common cause. Radio reports about who has been killed or captured can remind Harry that Voldemort's reign of terror affects many others, not only him.

Most importantly, the strange symbol the Trio has repeatedly encountered is identified by Xenophilius as the symbol of the Deathly Hallows, though their significance remains a mystery. Also, Xeno's disheveled appearance and odd behavior are certainly suspect, especially considering his staunch pro-Harry Potter support in his newspaper. Xeno Lovegood's strange demeanor strongly indicates something may be amiss here, especially when he agrees to assist the Trio only after they pressure him. Luna's absence seems peculiar, too, and Xeno's claim that she is catching fish for their supper also seems suspicious; the Trio soon become wary.

Review

 * 1) Why does the trio seek out Xenophilius Lovegood? How can he help them?
 * 2) Where is Luna?
 * 3) Why did Viktor Krum and others believe the Deathly Hallows symbol represented Dark Magic, when apparently it did not?
 * 4) What is the sign of the Deathly Hallows?

Further Study

 * 1) Why would Xenophilius have a statue modeled after Rowena Ravenclaw wearing her headdress? Could this be significant to Harry's mission? If so, why?
 * 2) How is the radio used in the fight against Voldemort? How could it be used against Harry?
 * 3) Why does Xenophilius, an ardent Harry Potter supporter, seem reluctant to help the Trio?
 * 4) Why would Xeno suddenly cover the printing press?

Greater Picture
The Trio will learn, at last, that the symbol refers to the Deathly Hallows, and it is not a Dark mark as Viktor Krum mistakenly claimed, though it was co-opted by Grindelwald much as the swastika was by Hitler in the Muggle world during the same time period. However, it will take Harry some time to work out just what the Hallows are, whether or not they relate directly to his mission, or whether Dumbledore intended for him to pursue them separately. Eventually it will be learned that Dumbledore did intend for Harry and the Trio to discover the Hallows, especially the Elder Wand, but rather than revealing their existence, he instead chose for the Trio to discover the Hallows gradually to avoid them falling into the same trap he had. Dumbledore feared that, on learning the Hallows myth and their supposed power over death, Harry would abandon his search for Horcruxes, and instead become obsessed with the idea of resurrecting his lost parents. In fact that very nearly happens.

Harry seeing the model of Rowena Ravenclaw's lost Diadem is crucial because this is the first time that a known Ravenclaw artifact that may have survived to the present is mentioned. Later, Harry discovers that Voldemort made the true Ravenclaw Diadem into a Horcrux. Harry has unknowingly come into contact with the Diadem. While searching for a place to hide his Potions book inside the Room of Requirement in Harry Potter and the Half-Blood Prince, he used the Diadem as a marker to remember the book's location. However, Harry obviously was unaware that he was handling one of Voldemort's Horcruxes.

Xenophilius' odd behavior is also important to note, for in the next chapter we learn that when the Trio arrived at his house, he immediately dispatched an owl to the Ministry alerting them. The careful reader will note the owl in the garden as the Trio approach the house, and it flying up past the window as Harry looks out when Xeno says he is going to fetch Luna; those who recognize this later may assume, as Harry apparently did, that the owl was being sent to fetch Luna. We soon learn that Xeno informs the Ministry only because Luna has been taken captive by Death Eaters, and Xeno is hoping that by informing on Harry, he can secure her release.


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Cookbook:Spirits

Spirits is a term used in Food and Wine nomenclature to denote a distilled beverage. It is a liquid preparation meant for consumption containing ethyl alcohol (ethanol) purified by distillation from a fermented substance such as fruit, vegetables, or grain. The word spirits generally refers to distilled beverages low in sugars and containing at least 35% alcohol by volume. Brandy, eau de vie, gin, rum, schnapps, tequila, vodka and whisky are types of spirits. Distilled beverages with added flavorings and a relatively high sugar content such as Grand Marnier, Frangelico and American style schnapps are generally referred to as liqueurs. The term liquor may mean spirits; spirits and liqueurs; or all alcoholic beverages, including wine, sake, beer and mead.

Varieties

 * Whiskey
 * Brandy
 * Gin
 * Vodka
 * Tequila
 * Rum
 * Liqueur

title: Cookbook:Spirits


text:
Bartending/Cocktails/Bronx Cocktail

The Bronx Cocktail is essentially a perfect martini with orange juice added. It was ranked number three in "The World's 10 Most Famous Cocktails in 1934", making it a very popular rival to the Martini (#1) and the Manhattan (#2). Today, it remains a popular choice in some markets, and is designated as an Official Cocktail by the International Bartender Association.

Ingredients

 * 3.0 cl (6 parts) Gin
 * 1.5 cl (3 parts) Sweet Red Vermouth
 * 1.0 cl (2 part) Dry Vermouth
 * 1.5 cl (3 parts) Orange juice

Glass

 * Cocktail Glass

Instructions
Pour all ingredients into shaker with ice cubes, shake well. Strain into chilled cocktail or martini glass.

title: Bartending/Cocktails/Bronx Cocktail


text:
Piano/Intervals

Definitions and Introduction
As we mentioned before, the piano illustrates the basis for musical theory. This chapter discusses intervals in theory and shows the relationships between them. It also will give you a better understanding of how intervals can be used to derive remaining parts of chords you don't know. We will further discuss chords in a different section, but this will be a basic introduction in chord building, and will show you how you can accompany different songs while you play melodies with your right hand. In this section, things might begin to get really, really confusing, especially if you don't have any kind of previous music theory knowledge. Take your time, relax, and if any questions or ideas for improvements to this chapter arise just leave comments on the talk page. I will do my best to explain the concepts to you. It might be a good idea if you have already familiarized yourself with the scales, as i will be using them extensively during this chapter.

So, what are intervals?
An interval can be briefly described as the distance between two notes. For example, in the C major (Ionian) scale, the first and third finger when pressed at the same time form an interval (a major third). Note that notes in intervals can be separate and in order: ascending (c, e) and descending (e, c), or simultaneous (both notes played at the same time). Also note that intervals are characterized by the grades of the scale, taking each note of a scale and assigning it a number. Intervals are the basis to form chords.

Counting Notes
When calculating the distance between two notes, you must be really careful and count the semitones, which, on the piano, means both white and black keys. For example, after c comes c#, then d, then d#, etc. On the piano, the black keys represent semitones that are ignored (not played) when making a third major interval on the c scale. You can play the entire C major scale on just the white keys.

Second and Third Intervals
The reason why these intervals are together in this section is because their theoretical explanation is exactly the same, and they work in the same way; the 4th, 5th and 8th intervals work differently.

Method for Counting Notes
Play a C and an E. If there are exactly 3 notes (3 black and white keys), without counting the initial and last note, in between them, the interval is called a third major. If there are two notes in between, the interval is called a third minor. The same concept applies to second minor and major. A second minor in the C scale is C and D-flat (no semitones are separating the notes). These second intervals, which, as seen later on, are used for improvisation techniques, are usually played separately and often quickly, and are repeated in ascending order. This method works only for second and third intervals from any given key. Note: Play these notes always in ascending order. The reason for this is that intervals change depending on the order sometimes. This will be discussed further on this chapter.

Alternative Methods
Although the method for counting notes described above starts to become really ineffective especially on greater intervals, many musicians prefer to sing the notes of the scale with numbers from 1 to 8 to identify the kind of interval that is played simultaneously by ear. If you count up to 3 notes for example, (C to E) the interval is quickly identified as a third major. If we approach a different method and lower the third note of the major scale (from E to Eb) the interval is minor. This is mainly why you need to know the major and minor scales by heart in order to play or identify given intervals. Scale recognition by ear is heavily based on the intervals that you hear, depending on the scales. I will be using this method for better clarity and understanding.

6th and 7th Intervals
Taking of course the 1st and 6th grades of the A major scale, we can say that A and F# is a 6th interval. If we lower the F# to an F, it becomes a 6th minor. Same applies to the seventh interval: Taking the 1st and 6th grades of the D major scale, we can lower the C# and make the 7th interval a minor one.

4th and 5th Intervals
Taking the 1st grades of the F major scale, we can have a 5th interval by playing F and C. This is denominated as a perfect 5th. If C is lowered to B, the interval is known as a diminished 5th or tritone; if C is shifted to C#, the interval is known as an augmented 5th. If we take the 1st and 4th grades of the G major scale, we would obtain a perfect 4th interval once G and C are played. Shifting C to C# would result in an augmented 4th; lowering C to B would result in a diminished 4th.

Octaves
Octaves are also said to be perfect or fixed, because the same note is played at a higher octave. The simultaneous playing of an octave is known as a doubled note. Play the middle C on the piano keyboard, then play the next C that you find either to the right or left of the middle C. Notice how the note sounds the same, or has the same feeling, but it sounds higher. Well, that is because it's the same note, just an octave above (to the right) or below (to the left).

Relationships Between Intervals
Although it is not really necessary to review this, it helps to clear and avoid any confusion you might have. Remember the perfect 4th interval we had mentioned before? Well, you can find out that if we lower the C and play the notes G and B, we obtain a third major interval. Same when shifting the note: We obtain an augmented 4th interval or a diminished 5th interval. For the 2nd and 3rd interval relationships, a 3rd minor interval is also an augmented 2nd interval, and a 2nd major interval is a diminished third interval. This relationship also works with 6th and 7th intervals, and even with octaves, if you stop and think about. Now that we have discussed the intervals at length, let's make some decisions here.

Determining the Kinds of Intervals
We have so far discussed what the types of intervals are and how to identify them. This section deals with when you don't know whether to name an interval perfect, diminished and augmented or major and minor. Just keep this in mind: When the same higher note is played an octave above and that note forms a 4th or 5th interval, the interval is denominated as perfect. So, if we take C and F, but we play the F note an octave higher, we get a perfect 11th interval. You can expand this all the way to even a 22nd or a 23rd interval, though only in really strange cases do intervals get this big, so there is usually no need to identify intervals that are higher than an octave or so. (An exception is montuno patterns. Montuno is a completely different style that deals with chord inversions played differently on each hand; therefore, this topic is not relevant to a discussion of intervals.)

Introduction to the Formation of Chords
Hopefully you feel alright with we have discussed so far and understand most of the relationships between intervals. it is not really required that you so, but it would really help when you get to chord inversions and any other types of identification. Although this has really been based on musical theory, learning to play piano without music theory is like learning how to speak a language without proper grammar and syntax concepts. You also hopefully might have been playing and discovering some different intervals than the ones I already mentioned here. now, lets go to the construction of chords by using intervals.

Brief Explanation of Chords
A chord is 3 or more notes played together. If the notes are played separately, the "broken" chord is called an arpeggio. It is a good technical exercise and also a good improvisation technique if you manage to play arpeggios quickly. Chords are the basis or core for the accompaniment of all songs and are used differently into many styles. If we base the formation of chords into intervals we can say that a chord consists of two intervals being put together, as shown in the next section.

Major Chords
The reason why this is called a major chord is because of the first major interval as you will notice. Most chords are named after the first interval that you play. For the sake of making things easy to comprehend and play I base this type of chords on the c scale and put the notation of the fingers which are used after the note. So if we would play d with the index finger the notation used will be d2. I assume you are playing these chords with your right hand. if you wish to do so with the left hand, simply reverse the order of the fingers you use on your right hand. This is why piano builds a lot of coordination. Lets begin with a third major interval (c1 e3). Now that we have such kind of interval, we can add a minor second interval above by playing with the pinky the note g, thus making the interval with notes e g. First play it as an arpeggio and then play all the notes at the same time. If you know other scales, do the same and don't be afraid to experiment. Form a major third interval and then add an augmented second above the higher note of the third major interval.

Minor Chords
As you would have guessed, the minor third interval begins the chord (c1 eb3), then adding the g again, in which we get a third minor and then a third major. Notice how the order to intervals reverse. Major chord: Major third interval, minor third on top. Minor chord--minor first, followed by third major.

Conclusion and Tips
Although this might seem really overwhelming at first, this uses the basis of interval and shows their importance into chord forming. it is good that you keep on experimenting and see what kind of intervals form which kind of chords. It is much better to discover the syntax of a language or learn the vocabulary with a dictionary of the same language rather than remind yourself of the equivalent word in your first language. In other words, using intervals on this manner will really help you see relationships between minor and major, chord inversions and figuring them out rather than try to remember the notes that compose them constantly. This will also make you a better pianist and a better musician. Explore, practice and put dedication into it. Once you practice chords there will be the need to no longer remember the chord's composition by using intervals. Piano can be as easy and as hard as you want it to be. IN the next chapters we will be discussing more chords and their intervals. Finally, we will focus on stylistic patterns used in many different rhythms. What makes piano really complex to introduce and teach fully most of the time is that the diversity is really great as far as the styles you can play and relations in music theory.

title: Piano/Intervals


text:
Talk:Piano/Intervals

corrections
Feel free to make any spelling grammar or content changes but please leave your ideas onto this page. Thanks. 68.205.240.133 00:35, 6 August 2007 (UTC)

title: Talk:Piano/Intervals


text:
Talk:Bartending/History/The United States and alcoholic beverages

this history is about the history of alcohol in the U.s., not about bartending at all


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Talk:Orthopaedic Surgery/Upper Limb

wonder if hand and microsurgery should be appended to upper limb. any thoughts--elfar 05:36, 6 August 2007 (UTC)

in fact do we really need an upper limb at all. cant we just list shoulder and elbow like hand and microsurgery

title: Talk:Orthopaedic Surgery/Upper Limb


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Orthopaedic Surgery/Arthroplasty:General Principles

Central to the practice of orthopaedic surgery is the idea that painful and poorly functioning joints are surgically treatable entities. In the past century, surgeons have attempted to replace the surfaces of joints to relieve pain and preserve function. The replacement of joint surfaces with artificial or alternative surfaces is called arthroplasty.

Arthroplasty can be performed successfully using a variety of substances including autogenous tissue. Typically, joint surfaces are exposed and the diseased joint is removed to provide a surface capable of accepting the arthroplasty material. One common result of this is that arthroplasty surgery is rarely a trivial affair as entire exposure of and replacement of the joint is a standard goal.

The standard elements of joint arthroplasty will be discussed. It should be noted that there is a common trend in both literature and practice to refer to arthroplasty as "adult reconstructive" surgery. This owes to the fact that the majority of arthroplasties are performed in patients suffering from osteoarthrosis which is a degradative process common in the joints of the elderly. Osteoarthrosis itself is most commonly referred to as "osteoarthritis" which signifies a wear-and-tear process in a joint. Although the term adult reconstruction is commonly used, it can be a type of misnomer because it suggests osteoarthrosis as the disease for which arthroplasty is the cure. On the contrary, arthroplasty is a surgical solution for many types of destructive joint disorders including the inflammatory arthropathies and neuroarthropathy.

With these concepts in mind, a discussion of the elements of arthroplasty can begin.


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User talk:Hagindaz/Wiki2LaTeX

Thanks for making this available! -- Kowey 07:26, 6 August 2007 (UTC)

title: User talk:Hagindaz/Wiki2LaTeX


text: Category:Cocktails with sake

title: Category:Cocktails with sake


text:
Bartending/Cocktails/Saketini

Saketini is a Japanese cocktail made with gin and sake.

Ingredients

 * 1.5 oz. gin
 * 0.5 oz. sake
 * 1 green olive
 * ice

Method

 * 1) Stir gin, sake and ice in a mixing glass.
 * 2) Strain into a Martini glass.
 * 3) Garnish with a green olive.

 * Makes 1 serving.

title: Bartending/Cocktails/Saketini


text:
Cookbook:Arroz con Gandules (Puerto Rican Rice and Pigeon Peas)

Arroz con gandules is a Puerto Rican dish of rice, pigeon peas, smoked meat, and sofrito.

Sofrito

 * 2 medium yellow onions, cut into large chunks
 * 3–4 Italian frying peppers (also known as cubanelle peppers)
 * 16–20 cloves garlic, peeled
 * 1 large bunch cilantro macho or common cilantro, washed (with roots if possible but just the leaves and stems are fine)
 * 10–12 ají dulce chile peppers, seeded (e.g. ají cachucha, quechucha, ajicito, or ají gustoso)
 * 10 leaves of culantro (recao), or another handful of cilantro
 * 3–4 ripe plum tomatoes, seeded, cored and cut into chunks or roasted then skin and seeds removed
 * 1 large red bell pepper, cored, seeded and cut into large chunks or roasted first then seeds and some skin removed

Rice

 * ½ cup extra-virgin olive oil
 * 1 tablespoon achiote (annatto) seeds
 * 3 cups sofrito (recipe below)
 * ½ cup coarsely-chopped alcaparrado (manzanilla olives, pimiento, and capers)
 * 3 tablespoons of salt
 * 1 tablespoon fresh cracked black pepper
 * 1 tablespoon cumin seeds or ground cumin or more to taste
 * 2 teaspoons coriander seeds or ground coriander or more to taste
 * 5 tablespoons (⅓ cup) chopped Mexican mint (optional)
 * 2 green plantains or 3 green bananas grated
 * 1–2 whole pieces of smoked ham hock or smoked turkey, depending how big just for flavor
 * 1½ pounds Puerto Rican salami (salchichón), ham, or chorizo, diced
 * 6 cups medium grain rice (do not rinse)
 * 1 bag (13 ounces) of frozen pigeon peas or 1 can (15 ounces) of pigeon peas
 * About 7 cups beef, chicken, turkey, or vegetable broth
 * 6 bay leaves or avocado leaves
 * 1 banana leaf or plantain leaf (optional)

Sofrito

 * 1) Add chopped onions to blender, and blend until liquefied.
 * 2) With the motor running, add the remaining sofrito ingredients one at a time and process until smooth.
 * 3) Remove and reserve 3 cups of sofrito for rice.

Rice

 * 1) Heat the oil and annatto seeds in a small skillet over medium heat just until the seeds give off a lively, steady sizzle. Don't overheat the mixture or the seeds will turn black and the oil green. Once they're sizzling, pull the pan from the heat and let stand until the sizzling stops. Strain as much of the oil as you can into a heavy 5-quart pot or Dutch oven and let it stand for at least 5 minutes.
 * 2) Lightly toast the cumin and coriander seeds in a small skillet over low heat for a few minutes before grinding them releases flavor and aroma. Keep an eye on them, they turn dark fast. Grind in a little spice grinder, coffee mill, or mortar and pestle.
 * 3) If using frozen pigeon peas, boil them for 10 minutes before using. If using from a can, drain the liquid and rinse the peas.
 * 4) Re-heat oil over high heat until rippling. Stir in ham hock and salami and brown. Add sofrito, alcaparrado, grated plantain, and salt. Cook until sofrito stops boiling and sizzles, about 5 minutes.
 * 5) Add cumin, coriander, orégano brujo, bay leaves or avocado leaves, and black pepper. Cook, stirring in the sofrito for an additional 30–45 seconds until the aroma release from spices.
 * 6) Stir in the rice and peas until everything is mixed together and rice is coated with oil all over. Stir in enough broth or water to cover the rice by the width of two fingers. Top with banana leaf (or pan lid), folding it up as necessary to fit over rice or can cut what ever sticks out pot.
 * 7) Bring to a boil, then boil without stirring until the level of liquid meets the rice. Remove the banana leaf, give the rice a big stir, and put leaf back on top.
 * 8) Reduce the heat to low, cover the pot with lid, and cook until the water has been absorbed and the rice is tender (about 20 minutes).

Notes, tips, and variations

 * The remaining sofrito will keep in the refrigerator for up to 3 days or freeze in ice trays and it will last a month. Tomatoes can be roasted and passed threw a strainer, removing seeds and skin as an option. Red peppers are usually roasted on an open flame before blending into sofrito.
 * Homemade broth is best, but you can use store-bought or water.


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User talk:81.214.71.91

--AdRiley 09:37, 6 August 2007 (UTC)

title: User talk:81.214.71.91