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Swing Dancing/Aerials

An aerial (or air step) is a dance move where one's feet leave the floor. The term has come to mean a wide range of special and unusual dance moves, including dips, slides, and tricks. Here we attempt to describe the diversity of aerials. The aerials listed in this article are grouped somewhat arbitrarily into classic aerials; jumps and cannonballs; charleston jumps; lifts; something; flips; base aerials; dips; slides and spins; drags and slop; theatrics and gymnastics; and miscellaneous.

In an air step the leader or the follower acts as a base offering support to the flyer whose feet will leave the floor.

This article should not be used for teaching or learning aerials. We recommend coaching to learn aerials, and the use of trained spotters. Aerials that seem easy can be quite dangerous. Learning the timing and technique of aerial steps is a long process, and can be dangerous is conducted under unsafe conditions by untrained instructors or dancers.

Classic Aerials
These aerials stand the test of time. They were performed in the 1930s and are still performed in the 2000s. For convenience, 'he' refers to the base and 'she' to the flyer. It is important to note that though these gendered roles are the most common in aerials, they are by no means the only alternative. Executing aerials safely and cleanly is a matter of technical skill rather than brute strength.

Lindy Flip (Kip): This is the classic Lindy Hop aerial, somewhat like a swing out in the air. The flyer jumps at the base's right side, she pushes off the base's shoulder with her right hand, she swings around his head, and she lands where she started. When the flyer moves slowly, her motion is lower and more horizontal and the move may be called a helicopter. When the flyer moves quickly, her motion is higher and more vertical and the move is a true Lindy flip. Technically, this is not a flip.

Back to Back Flip (aka over-the-back flip): The base and flyer stand back to back, they lock arms. When the base bends over, the flyer rolls over his back and lands on her feet in front of him. This was the very first Lindy aerial.

Waterfall: From boxcars, a candlestick, a handstand flip, or leg up layout throw, the flyer goes up over the base's head, slides down the base's back head first, tucks up through the base's legs, and stands up in front of him, in one fluid motion. The base pulls the flyer up through his legs the final way. In the traditional version, the flyer's feet simply fall to the floor. In the modern version, the flyer's knees are caught mid back and she swings through and stands up in one fluid motion.

Frankie Snatch: The flyer jumps over the base's shoulder and down his back. He stops her by grabbing her bent knee with his right hand, at his shoulder. He then throws her back out with his whole body. The flyer lands where she started. Named for Frankie Manning.

Around the World: The flyer jumps into the base's arms, horizontally. The base lets go with his left hand, her feet (she) swings around his body and grabs her knees with his left hand. She now lies across his back. Then he lets go with his right hand and swing her torso around and catches her in front, where she started. This can be low (her belly at his waist) or high (his nose in her belly button). The couple can do one, or do several in a row. Also called  pendulum.

Jumps and Cannonballs
These simple jumps start from closed position.

Straight: In closed position, the flyer jumps straight up. The base pushes straight up with his right hand on her back and his left hand on her right hand, to give her more height. The flyer pushes with her left hand on his shoulder and her right hand on his left hand. Rock on count 1, step on count 2, down on count 3, jump on count 4, land and sync on counts 5 and 6. Also known as a Jersey Bounce.

Frog: Like straight, but flyer pulls her legs up giving the illusion of more height. Base may kick between her legs while she is in the air. The flyer may arc over the base's shoulder or go straight up.

Hyper Frog: Like a frog, but flyer kicks her legs while in the air.

Cannonball: This can go either left (throw out) or right (swing out from closed). The flyer jumps straight up. The base adds height and directs her motion. When the flyer pulls her legs up in a frog position, the move looks higher. Rock on count 1, step on count 2, down on count 3, jump on count 4, land and sync on counts 5 and 6. This is like a straight or frog, but the follow moves into open position.

Shin Buster (a.k.a. Shin Splints): Like a cannonball. Rock on count 1, step on count 2, down on count 3, jump up on count 4, down (land on thigh) on count 5, jump up on count 6, land and sync on counts 7 and 8. The extra thigh move adds height to the move. When the flyer pulls her legs up in a frog position on counts 6 and 7, the move looks higher.

Double Bounce: This is a cannon ball with an extra bounce for both the base and the flyer. Start in closed position. The lead jumps out on count 3, the follow makes a small cannonball jump on count 4, she lands on count 5, the lead makes a small cannonball jump on count 6 and lands on count 7, the follow makes a big cannonball jump on count 8, and lands and recovers on counts 9 and 10. So, the base turns 2 times and the flyer turns 1+1/2 times. When the flyer pulls her legs up in a frog position on counts 8 and 9, the move looks higher.

Charleston Jumps
These jumps start from tandem Charleston.

Russian: In tandem Charleston, rock on count 1, step on count 2, down on count 3, up on count 4, and land and sync on count 5 and 6. The flyer often does the splits, but they should not kick back to avoid kicking the base. The lead may kick between the flyers's legs. The lead may grip the flyer's hip bones, while she grabs his wrists, which is a ballet Russian. Or the lead may use the charleston grip, while the flyer simply keeps her arms straight, which is the charleston Russian.

Shoulder Sit: Like a Russian, but keep lifting and sits the flyer on his shoulder. Dismount by giving base's left hand to follow's right hand, and she slides down his chest.

Oh Floor: This begins like a Russian, but while the flyer is in the air, the lead moves forward and places his chest under the flyer, and he grabs around her waist. She wraps her legs around his torso. As the flyer falls, the base carefully lowers her body (like a lever) to slap the ground then pulls her body back up and lets go, she flies up and lands. Then she does a Butt drop and spin exit.

Lifts (Retitle)
Lift Up: The base puts his right hand under her butt, she leans back onto his shoulder, and he lifts her up in a fetal position over his shoulder. Then set back down. The lead can also hold both sides of her hips.

Lift Flip: The base puts his right hand under her butt, she leans back onto his shoulder, and he lifts her up, throws her over shoulder. She lands behind the base. The lead can also hold both sides of her hips.

Flips
In these aerials, the flyer starts right-side up, flips upside-down, and lands right side up.

Supported Back Flip: The lead places his right forearm across the flyer's upper back, she jumps up, the base lifts the flyer's lower back with his left forearm, which sends her over. Depending on the height and tightness of the tuck, this can go fast or slow. Staying in a pike position slows the move.

Unsupported Back Flip: The lead holds the flyer's right hand with his left hand. She does her own rock step, down up. As she goes up, the lead uses his right forearm to lift her lower back and help her over. This is also called the crepe.

Basket Flip: The lead brings his partner into a cuddle. He then reaches across her stomach with the arm that is closest to her and places his hand on her opposite hip. The lead will then have to bend his knees and reach his other arm behind the flyer's legs and just above her knees. She then jumps and he rotates his arms, causing her to do a backflip. The advantage of this move is that it is very secure, because the base has a good grip on her body. The difficulty is that the base's arm is diagonal across the flyer, so her body tends to twist during the flip.

Handstand Flip: The flyer stands facing the lead. She does a handstand, placing her hands right in front of the base's feet. When her legs come up in the air, the base grabs each with one hand and guides them so that each one is resting on one of his shoulders (his head will be between her legs). The flyer (with her knees bent so that she has a grip on the base) will hoist herself up like she's doing a sit-up. When she's all the way up, she puts her hands behind the base's neck and releases her legs, sliding down to end up standing in front of the base.

Handstand Shoulder Throw: This starts like a handstand flip, but the flyer is thrown over the base's shoulder to stand next to him. (ALHC 2001, K+C)

Rainbow Flip: As the flyer moves toward the base, both turn to the side to face the same way. The base bends side ways and picks her side up on his shoulders. He straightens up and pushes her up and over. She lands like a gymnastics roundoff.

Front Flip: The flyer stands in front of the lead, in tandem. She bends over, puts her arms between her legs. The base grabs her hands, pulls up, she flips and lands on her feet. (ALHC 2001 Open American)

Tomahawk: They start facing each other, but touching right sides. The lead's right arm goes across her chest, below her neck, which is the rotation point. The base steps behind her with his right foot, placing it between her feet. He then does a body roll, lifting her up and over.

Viva Las Vegas: Like a tomahawk, except that the flyer then throws the lead. This can keep going, many turns. Also this can be done with many (2, 3, 4, or more) people side-by-side.

Head Flip: Like a Lindy flip, but the follow pushes off the base's head with her right hand. This adds about 1 foot more height over the Lindy flip. Technically, this is not quite a flip.

Kip to the Side: Like a Lindy flip, the follow spins around the base's right arm, and is caught by his side. They may end by standing. The flyer may do a 1+1/2 spin, and end with a show cherry drop. Technically, this is not quite a flip. This can be extended so the flyer spins multiple times.

Base Aerials
In these aerials, the base flies and the flyer supports him.

Capoeira: The base kicks forward so his body is horizontal and a few feet above the ground. Then the base spins horizontally 360 degrees and lands with feet down, his torso supported by the flyer.

Guy Upside-Down: The base holds onto the flyer's shoulder and kicks to be upside down. The flyer stands up straight and holds him in balance.

Guy Back Bend: Base bend back. He may go to ground. He is actually holding himself up with her hand. Play up drama. She may mime pushing or throwing him down, then he slowly rises.

Jump Over Shoulder: The base stands behind the flyer, he leans over her shoulder, she puts her arm behind his neck and gives a small pull, he jumps and goes over her body and lands like a guy back bend.

Back Flip: The base does a back flip, with flyer assisting.

Miscellaneous
Boxcars: The flyer hangs from the base's neck and treats her body like a pendulum. She ought to grab one of her wrists behind his neck in order to support herself with her forearms. She jumps and the base pushes her back, she swings forward and sits on his right thigh, he pushes her back, she swings forward and sits on his left thigh, he pushes her back, she swings forward and does a split toward the lead and sits on (straddles) both thighs. They may repeat these three moves in any order, any number of times. The flyer should extend her legs straight when she sits on the base's body. The flyer may kick back, which shows well, but is hard to control, or she may tuck which is easy to control.

CandleStick: The flyer is pushed directly over the lead's head, feet up. Usually approached from Boxcars.

Sergei's Baby: The flyer tucks into a fetal position on the ground and the base pulls her up into a standing position. This is an old circus trick. Circus grip.

Leg Lift: The flyer lays on her back, with her legs straight up in the air. The base grabs her ankles, pushes straight up, lets go, and she flips up and stands straight. This is an old circus trick.

Around the World: Discuss fancy version. (ALHC 2001, K+C)

Airplane: Start side-by-side. The base bends down, picks up the flyer and stands up straight (ala Basket Flip). The flyer tucks and then lays out like an airplane on his shoulder. The center of her mass (near the hip bones) should be on the top of his shoulder (the seam of his shirt). If she is in balance on the base's shoulder, they can let go of hands. Otherwise, the base should keep his hand on her back for control. This move can also be approached by the flyer jumping into the leads arms (with her hands behind his neck and grabbing one wrist), the lead swinging her legs behind his back and catching them, spinning in place in the direction of her feet, letting go of her legs so that her body swings around his, and helping push her body up onto his shoulder. He should grab her at the armpits. To dismount, either reverse the move, or the flyer can slide down the base's back.

Belly Cherry: This is like an airplane, except that the flyer's hips lay across the base's leg. This can be set up by pulling her and laying her down on the leg.

Elevator: The lead pushes the follow up, over his head and she lands behind him. Flyer may begin face-to-face the base, or in tandem away from him.

Butt Drop: The girl sits in front of the lead with arms straight out to her sides. She goes down on 1 leg, with the other out straight. Exits are stand up, spin, and reverse rag doll. This can be approached from standing in front or tandem, to pull in from open position.

Foot Glide: Move on heel-ball. The other foot may circle near the floor to distract attention.

On Back: The flyer jumps on the base's back. He can push her feet back, so she pops up.

Slide Push: The follow leans into the base. The follow slides, while the base pushes her.

Sassy Kicks: The flyer bends back and kicks twice, then she spins in place and kicks twice again.

Step Over Hands: The flyer squats, the base steps over their hands, and then pulls her through and up.

 Roll Over Back Flip: The base squats down and presents his back as a table. The flyer does a somersault across his back.

Back-to-Back Bump: Get back to back with a spin or barrel roll. The base bumps the flyer so she goes flying.

Theatrics, Gymnastics, and Kids
These moves are theatrical or gymnastic.

Horse: Requires 2 flyers and 1 base. One of the flyers jumps onto the base's back as if she/he is getting a piggy-back ride. The other flyer stands in front of the base, facing across him, and, using one hand to support herself on the base's shoulder, jumps up in the air. Once in the air, she quickly extends her legs into splits position, and the flyer on the base's back sticks out his/her legs, catching and holding the legs of the person in splits position. The base then walks around while the suspended flyers make a lasso motion.

Worm (2 person): The lead sits on the floor, with hands back on the floor holding him up. The follow lays face down with her torso on the base's legs, with her legs around his torso. The base then scoots forward. When his knees go up, the flyer raises her head and hands. When his knees go down, the flyer lowers her head and hands. Also called The Ship, in which the flyer should pretend to be a ship rocking to and fro on the high seas. Her arms mimic the water splashing from off her "prow".

Worm (1 person): Lay on stomach and wriggle forward.

Swimming and Paddling: The base lays stomach down on floor, and pantomimes doing the breast stroke. The flyers sits on his back and pantomimes paddling a canoe.

2-Person Somersault: Each grabs the ankles of the other and they go.

Walk Through Legs: Flyer scrunches down and walks through base's legs or the base scrunches down and walks through flyer's legs. (Forwards or backwards) (Base or flyer)

Assisted Cartwheel: The flyer does a cartwheel, while the base assists her.

Neck Rolls: (Y+N)

Side Airplane: The lead grabs on arm and one leg and spins the flyer out. (P+M)

Wheelbarrow: This is the classic kids move.

Leap Frog: The base bends down and flyer jumps over him.

Reverse Double Somersault:

Jump Rope: (3 person) Two people hold hands, and use their arms like a jump rope. The third person jumps rope.

Ring Around the Rosie:

Juggling Bodies: (3 person)

Slides and Spins
Split Slide (Open Position): The base walks backward (4 counts) helping the flyer down into a split. Then the base walks backward (4 counts) helping the flyer stand up. The base needs to keep his legs apart.

Split Slide (Closed Position): The base walks forward beside the flyer (4 counts) as she goes down into a split. Then he continues walking beside her (4 counts) as he pulls her up.

Slide through the Legs: The base pulls the follow toward him, while his legs are wide apart. The flyer does a split slide. The change hands as she passes. To finish, she may point away, or turn. The flyer can also walk through the legs.

Slide and Back: The flyer may slide through legs and come back.

Kyle and Sara: Flyer hooks onto the base's arm and kicks out with her feet. She slides half way around the base as he turns.

Arm Pit Swing Out: (find better name)

One-Legged Spin and Reverse: Do an underarm side pass, but rather than straightening out on counts 5 and 6, the lead should do a free spin, sticking his leg out horizontally. When the lead comes around after the 360 degree spin, the follow should grab the leg and push it back where he came from. (K+C)

Swing Out with Slide: This is a swing out, but flyer jumps out on 3 and 4, base lifts her on 5, and they keep going on 6.

Spin and Lift: This is a lindy circle, while the flyer slides. She can simply slide, or pick her feet up. (K+C)

Spin and Sneak Away: While the base spins, the flyer sneaks away. (K+C)

Drags and Slop
Drags are stylizations, not aerials.

Rag Doll: Follow faces lead, leaning on his body. As he walks backwards, she walks forwards with extreme body movement. It can be done high or low (expand).

Drag: The follow is dragged off, in a sitting position. The lead twists her left and right as he steps back. She swivels her knees as she is dragged. Or she can cross her feet (expand).

Slop: The base suddenly falls and catches himself on flyer's shoulder and then slowly stands using his arm for support. Or the flyer suddenly falls and catches herself on base's shoulder and then slowly stands, using her arm for support.

Dips
Cherry Drop: The lead bends his knees, so that his thigh is fairly horizontal. The flyer's back rests on his thigh while her feet are up in the air. If the flyer is in balance, both can let go with their hands.

Show Cherry Drop: This is like a cherry drop, but the flyer's legs hook on the base's back.

Flying Cherry Drop (a.k.a. The Lockup, Kaye Dip): The flyer stands behind the base. He picks her up with a butt lift, and grabs her around the back and waist. He then leans forward just enough to tip her off balance, so she swings around to his other side, naturally. They finish with a cherry drop on the base's left.

Trip Out: Start like a flying cherry, have flyer land with her butt between base's knees. The base then stands up, and the flyer lands on her feet in front. The base needs to turn during the flying part to catch the flyer. (Move)

Twisty Dip: The lead grabs the flyer's right hand with his own, shaking hands. He then lifts up his arm and the flyer spins under, counterclockwise. Once around, the flyer keeps spinning but, instead of the lead's hand up above their heads during the second spin, he lowers it to waist-level so that, when the flyer spins, her forearm goes behind her back. The hand grip will then change so that the hands can hold each other in the original shaking position. The flyer must do 1 & 1/4 of a spin on the second time so that she ends up facing across the lead's body toward his right side. He dips her and spins her out.

Spinny dip: Start in basic postion and do an arm slide ending in both holding each others right hand. Girl spins under and spins into guy ending up with her arm behind her back and guy dips her. Then While spinning her out he changes hands behind his back.

Moves to Sort
Reverse Waterfall: Flyer slides down the base's front, through his legs, and stands up behind him. (ALHC 2001)

Mop the Floor: Flyer lays down on floor, and the lead spins her, she puts her foot down and pops up. This works because she converts her spin motion into vertical motion.

Spin with Flyer Kicking: The flyer holds on around the base's neck, torso, stomach, or waist. He spins, counterbalancing her and her feet fly out. (From Hellzapoppin)

Flying Overhead Throw: They start just like a flying cherry drop, except that the flyer is thrown back over the base's head and she lands on her feet, behind the base.

Window Blinds: The lead rolls flyer horizontally down his front and catches her.

Foot Sweep Catch: From Charleston to holding the flyer in a cradle.

Two-Leg Pendulum: The base holds the torso of the flyer and moves her feet in a circle. When her body needs to go under one of his legs, he lifts his foot. Flyer Swing: The base holds the flyers torso and swings her feet. As needed, he steps over her body so she can swing around. (D+S)

One-Leg Pendulum: Like a two leg pendulum, but with one leg, and solo.

Neck Straddle: Start like Lindy flip, but flyer ends straddling the bases neck, backwards. He can set her down, or she can slide into a waterfall.

Body Clamp: The base can clamp the flyer's torso to his torso, so she can flail her legs and arms. She can also be upside down.

Upside Down: The base can hold the flyer upside down. Egyptian pose.

Airplane Bench Press: The base can lay on his back, and hold the flyer's hips in his hands and bench press her.

Stealing Partners: (3 person)

Lift: The lead holds his arms out straight. The follow straddles his arms. This is a Charleston jump variation. The reverse waterfall can exit, or tuck under arm and down.

Roll Over Flip: The base bends over. The flyer bends over his back and tucks underneath his chest. The base pulls her around and then stands up.

Step Over Body: The flyer holds her body rigid and leans over. The base swings her down below his body and back up on the other side. As she passes under, he steps over.

Back Roll Side Pass: The lead starts a left side pass. As the follow walks past, he does a backwards somersault and then turns to face the flyer.

Jam Notes
Entrances and Exits. The goal is to enter or exit the jam circle with style.

 * Run on, run off.
 * Cannonball
 * Double bounce
 * Travelling Charlestons, facing each other. Double kicks onto the floor.
 * Girl pulls guy onto floor, using his tie as a leash.
 * Boogie forwards
 * Shorty George chase. Gradual or slight delay for the person following so that it looks staggered. Or make it extreme.
 * Rag doll exit, or butt drop
 * Sassy kicks (usually used in Balboa)
 * Walk through slide to pass the follow to another lead for another aerial, or just separate
 * Airplane and walk off

Safety
Aerials are fun. Since flyers go upside down, aerials are potentially dangerous and should be practiced safely. As long as everyone remains safe, aerials will remain fun.

 * Agree Out Loud: Mistakes occur when each dancer thinks they are doing a different move or a different part of the same move. Miscommunication is big source of mistakes.
 * Use Spotters: Spotters should protect the flyer's head. The flyer's legs will find the floor by themselves. Spotters should be trained.
 * Wear Smooth Clothes: Clothes should be simple and smooth. When they rub against skin, they should not hurt. They should not be too loose to get caught.
 * Remove Jewelry and Empty Pockets: Remove all jewelry, including watches, necklaces, and earrings. Empty pockets of keys and coins. Remove everything that could poke or scratch one's partner or get caught in hair.
 * Use Mats: Mats help in normal landings. Mats really help in accidental landings.
 * Warm Up: Aerials are physical work. Warm up to avoid physical injury.
 * Flyer Landing: Flyers should always land toe, ball, heel, knees, to minimize chance of injury to feet and knees.
 * Base Lifting: Bases should bend at the hips and lift with the legs. Avoid bending with the back, to minimize chance of back injury.
 * Not Socially: Don't do aerials (except simple dips and slides) on the social dance floor. Other dancers (without realizing what is going on) can easily move into the space where the flyer needs to land and the flyer might get hurt. Jam circles and performances are great places for aerials.
 * Use Common Sense: Take time. Don't hurry. Pay attention.

Connection
Connection in aerials is vital. Everything about aerials is proper use of momentum. Both partners use proper connection to create the momentum. Then the lead/base directs the follow/flyer through the air using proper connection. If the tricks on this page don't discuss the connection points, then be sure to work those out before attempting the trick.

Timing. Timing is extremely important for each and every trick. In time with the music is a performative component only. Both partners must be in tune to what is happening such that both have the confidence to give the trick the controlled energy it requires. Since most tricks only work well with proper timing, it is a good, simple, easy way to know that something is going wrong with the trick. If it doesn't feel right or the timing is off, stop the trick. Better to be wrong today, than broken tomorrow.

The base starts the move, but the flyer completes it. In practice it is best for the follow to count off the start of the trick. Generally the follow is the one flying, so let them set the practice pace.

The base must be there for the flyer at all times.

Spotters: Know where to connect with the flyer/follow if you are "hands on spotting" and stay alert and ready when "hands off spotting" knowing where, when, and how to intervene if needed.

Grips
Standard: This is the standard Lindy grip, fingers together. Base's hands horizontal, flyer's hands hooked over top.

Palm: This is palm to palm, with fingers and thumb curled around the partner's hand. This grip is used for lifting.

Circus: Each dancer grabs the forearm of the partner. This grip is very secure, but very rigid.

Choreography Notes
Flow: An aerial looks best when it flows from the previous move and into the next move naturally.

Surprise: When a move is totally predictable, it is boring. Avoid long set ups for aerials. Often set ups are merged into the previous move. Dancers shouldn't stop the performance for a few counts while the base and flyer get in position.

Contrast: Many aerials are fast. The airplane and cherry drop should be held for a few counts, to get the best effect.

Getting out of some aerials is awkward. This makes them natural for finishing a routine, when there is only one pair of dancers. When there are other dancers, they can cover for the pair.

Only A Few: Only do a few aerials in a dance. They are like spices in food: a little goes a long way.

Moves like leg lifts need set up. The flyer needs to lie on her back with her feet in the air. So, she needs a good reason to get there. At the 2001 ALHC, Peter and Maggie performed a combination where Peter spun in a circle with one leg extended horizontally, while Maggie jumped up and down. When Peter's leg went over her, she crouched down. When Peter spun the other way, she bounced up. So, she was close to the floor and nearly in position for a leg lift. She moved into position for the leg lift while Peter finished his spin. The leg lift became a natural way to resume dancing.

Finessing: In performance, moves may need to be tweaked to fit the music. Different performers do these moves in different ways. For example, many aerials (especially jumps and flips) can start with either a rock-step-down-up (1, 2, 3, 4) or rock-step-jump (1, 2, 3). The preference depends on the move, the musical context, and the preferences of the dancers. They may start on any count to hit the music.

title: Swing Dancing/Aerials


text:
Piano/Playing by Ear: Lesson 01

Listen to the following tune, and try to play it by ear. If you have any problems, try the hints.

First hint

Second hint

and now, if you're done (or if you gave up, shame on you) look at the notes:

Notes

Next lesson!
Did you get it? Try lesson number 2; Lesson 02

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

title: Piano/Playing by Ear: Lesson 01


text:
Piano/Playing by Ear: Lesson 01/Hint 01

Hint 01

Did you try to play it slower? Try to listen to it more often, whilst humming to the tune.

Back to lesson 01.

title: Piano/Playing by Ear: Lesson 01/Hint 01


text:
Piano/Playing by Ear: Lesson 01/Hint 02

Hint 02

It starts with the C note and ends with the C note.

Back to lesson 01.

title: Piano/Playing by Ear: Lesson 01/Hint 02


text:
Piano/Playing by Ear: Lesson 01/Notes 01

Voilá! Did you get it right?


text:
Piano/Playing by Ear: Lesson 02

Whoa, so you managed to finish lesson 01? Ok then, we shall see if you can take lesson 02 on- just listen to the sound byte below, and try to play it on your piano.

And if you run into problems you can look at some of the hints:

First hint Second hint

And when you're finished you can check the notes out.

Notes

Next lesson
Did you get it? Well then try lesson number 3; Lesson 03

title: Piano/Playing by Ear: Lesson 02


text:
Piano/Playing by Ear: Lesson 02/Hint 01

Hint

This song repeats its first part, and in all only uses four notes; the C note, D note, E note and F note.

title: Piano/Playing by Ear: Lesson 02/Hint 01


text:
Piano/Playing by Ear: Lesson 02/Hint 02

Hint

This song starts and ends with the C note and goes up and down, like a rollercoaster.

title: Piano/Playing by Ear: Lesson 02/Hint 02


text:
Scouting/BSA/Genealogy Merit Badge

Requirement 1

 * Explain the meaning of genealogy:
 * Explain the meaning of ancestor:
 * Explain the meaning of descendant:

Requirement 2

 * Do ONE of the following:
 * a. Create a timeline for yourself or for a close relative. Then write a short biography based on that timeline.
 * b. Keep A journal for six weeks. You must write in it at least once a week. Show your journal to your counselor.

Requirement 3

 * Interview an older relative or a family acquaintance to obtain information about your family. Record the information that you learned and show it to your counselor.

Requirement 4

 * Name three types of genealogical resources:

 * Explain how these resources can help you chart your family tree:

 * Obtain at least one genealogical document showing proof of some information on your information on your pedigree chart or family group records. Give a description/summary of the document and show it to your counselor:

 * Describe how you would evaluate the genealogical information you found on the genealogical document:

Requirement 5

 * Select a organization from the list below. Speak with the person/organization that you selected and ask them a question related to their genealogical services or activities.
 * a. A lineage society
 * b. A surname organization
 * c. A professional genealogist
 * d. A genealogical education facility or institution
 * e. A genealogical record repository of any type (courthouse, genealogical library, state archives, state library, national archives, etc. )

 * Who did you contact?
 * What question did you ask?
 * What was their answer?

 * Did you ask any other questions?
 * If YES, give a description of the questions you asked and the answers given. Tell what you have learned from the experience:

Requirement 6

 * Begin your family tree by listing yourself and include at least two additional generations. You may use the chart in the merit badge pamphlet or the genealogy software program of your choice. Show your chart to your counselor.

Requirement 7

 * Show yourself on a family group record form, listing yourself and your brothers and sisters as the children. Show your form to your counselor.
 * Show one of your parents as a child on another family group record form, listing his/her brothers and/or sisters. Show your forms to your counselor.

Requirement 8

 * Explain the effects computers and the Internet are having on the world of genealogy:
 * Explain how photography (including microfilming) has influenced genealogy:

Requirement 9

 * Describe what you have learned about your family members through your genealogical research:

title: Scouting/BSA/Genealogy Merit Badge


text:
Soil Mechanics/Site investigation

The objective of a geotechnical investigation is to characterize the geologic environment. This may include;

1) The lateral distribution and thickness of the soil and rock strata.

2) Groundwater Conditions and quality.

3) Ground response to changing conditions such as surface loading from structures and unloading by excavations or extraction.

4) Physical properties of soils and rock formations.

5) Engineering properties of soils and rock formations.

6) Hazardous conditions such as unstable slopes, faults, flood plains, ground subsidence and heave potential.

The magnitude of the site investigation depends upon the geological variability of the site as well as the size (spatially and financially) of the planned project.

title: Soil Mechanics/Site investigation


text:
Soil Mechanics/Soil classification

'''Geotechnical engineers classify soils, or more properly earth materials, for their properties relative to foundation support or use as building material. These systems are designed to predict some of the engineering properties and behavior of a soil based on a few simple laboratory or field tests, though some earlier systems were adaptations of soil-science classification systems. The most common is the Unified Soil Classification System, with three major groups:

(1) coarse-grained, sands and gravels, (2) fine-grained, silts and clays, and (3) highly organic soils (referred to as peat even when the soil is not truly a peat). The first two groups are then subdivided as follows:

Coarse grain: gravels, sands, based on the grain-size of the coarse-grained fraction. Fine grain: silts, clays, organics silts & clays, based on plasticity and organic content.

Fine-grained soils are then subdivided according to their plasticity, while coarse-grained soils are subdivided by the presence and properties of the fines or the grain-size distribution of the soil.

A full geotechnical engineering soil description will include other properties of the soil, including color, in-situ moisture content, in-situ strength, and somewhat more detail about the material properties of the soil than is provided by the USCS code.

title: Soil Mechanics/Soil classification


text:
User talk:Koweja

 NOTE : I don't check my userspace very often, so if you want to talk to me please use my Wikipedia talk page. Thank you. - Koweja

title: User talk:Koweja


text:
Judaism/The Hebrew Alphabet

For now see Hebrew/Aleph-Bet.

title: Judaism/The Hebrew Alphabet


text:
User talk:Sevvvy~enwikibooks

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally.--Sevvvy 04:37, 21 November 2006 (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 Sevvvy. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Sevvvy~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 23:44, 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) 05:28, 19 April 2015 (UTC)

title: User talk:Sevvvy~enwikibooks


text:
User:Sevvvy~enwikibooks

Hi, I write for Uncyclopedia!The Content Free Encyclopedia! I'm looking to write a book here...We'll see.--Sevvvy 04:38, 21 November 2006 (UTC)

title: User:Sevvvy~enwikibooks


text:
Talk:A-level Computing 2009/ICT Projects using LAMP

composition in about 300 words


text:
User talk:Vpklove

Hello and welcome to Wikibooks!

Here are some tips to help you get started:
 * You can sign your name on Talk and vote pages using four tildes, like this: ~~~~.
 * Remember to conduct any editing experiments in the sandbox.
 * If you're a Wikipedian, see Wikibooks for Wikipedians for a primer on how things work here (it's a little different).
 * If you want to base your work here on materials from Wikipedia, please use WB:RFI to bring the material over in compliance with the GFDL.
 * If you're an instructor and plan on using wikibooks for a class project, see Guidelines for class projects
 * Please say hello at the Staff Lounge with any questions or ideas.
 * Eventually, you might want to read the Manual of Style and Policies and Guidelines.
 * Please take a look at Naming policy before starting a new book.
 * Remember to maintain a Neutral point of view.
 * Explore, be bold in editing pages, and have fun!

You will find more resources in Community Portal. If you want to ask a question, visit the Study help desk, the Staff lounge, IRC channel or ask me personally on my talk page.

I noticed you made some changes to the Template:New page. See difference here. Perhaps you wanted to start your own wikibook or add content to the already existing LAN page. See Help:Editing, Start a new page and/or Help:How to start a book for more information.

Good luck! -Hyad 08:53, 21 November 2006 (UTC)

Bridges
Hi - would I be right in thinking that this pages was yours - created by an IP address type user? The content looks pretty much the same as the page you were working on yesterday. If so let me know (here or my talk page) and I'll arrange the deletion of the earlier one - thanks & regards -- Herby talk thyme 13:08, 23 November 2006 (UTC)

title: User talk:Vpklove


text:
Visual Basic/Windows API

APIs, short for "application programming interface", allows you to access a wide array of functions and methods exposed by the operating system or other applications (DLLs), performing operations not normally implemented by the standard virtual machine that Visual Basic provides. This includes operations such as shutting down the computer or listing all the current running processes.

Although VB6 compiler can't create true DLLs, it has ability to call existing DLLs (not necessarily just Windows API of course). Declaration of such function contains extra keyword declare and lib, plus optionally can be defined an alias if the real name of function differs from name of dll function alias. For example it can be:

For datatype Any accepts compiler any parameter provided. For effective using of API calls are important operators VarPtr which returns pointer at variable specified and AddressOf which is important for callback functions. Beginners often do mistake on missing or badly specified ByRef/Byval in declaration. Simply said, ByVal means that on stack will be pushed value and ByRef (or missing specification of calling convention) means that on stack will be pushed pointer at variable. In practice parameter type Long (4 bytes) will be called ByVal, but String or complex data types will be called ByRef.

Unfortunately, VB6 doesn't support C-like memory handling. To deal with this problem VB programmers uses function CopyMemory to copy memory like this:

which is relatively safe. Some of programmers at the higher level of knowledge can modify pointers at objects as well. Although most of API functions can be called this way, there is not possible to call entry points of dlls dynamically (LoadLibrary-GetEntryPoint-FreeLibrary) for general case. Much clearer way how to deal with such tasks is to move code of this kind into separated dll written in C++ and call this dll.

Declaration
An example of a declaration is the GetTickCount function which returns the amount of milliseconds that have elapsed since Windows was started. To use it, insert the following into a standard module in your project:

To access it, simply call it like you would call any normal function. Note, however, that this is a Public declaration and is limited to modules. If you don't need it to be accessible in your entire project, use the Private declaration and insert it in the class module or form directly:

Resources
For a beginner it is normally difficult to create a declare statement since it requires knowing how to map C datatypes to Visual basic datatypes. There is a built in program that comes along with VB6 called API Text Viewer which lists all commonly used API functions, contants and types. A VB programmer can just find the required function from said program and insert into the VB module.

title: Visual Basic/Windows API


text:
Talk:MediaWiki Developer's Handbook/Add Button

This code no longer works in Media 1.8.2 Can clever person look into this, and update the article? Thanks.


text: User:Swift/sandbox

title: User:Swift/sandbox


text:
User talk:218.102.205.128

Page to which you added was deleted
The page Guide to Parkour/Exercises/The Squat, which a user with this IP address added:
 * I live in Hong Kong . I want to play Parkour, but Parkour not famous here. Can you tell me how to start to play Parkour.

has been deleted. If you are interested in learning parkour, see the content already up at Guide to Parkour. You can discuss this content on the relevant talk pages. Currently, the parkour guide isn't very exhaustive and, since it is contributed by volunteers, cannot be guaranteed to be anything close to completed anytime soon. If you learn to parkour elsewhere, you are welcome to add to this book as you learn.

Regards, --Swift 12:50, 21 November 2006 (UTC)

title: User talk:218.102.205.128


text:
Talk:Ada Programming/Containers

I find the example a bit averwhelming for a first one. Why not use an indefinite ordered map to avoid access types and the extra hash function? IMO this way would be more intuitive. Maybe this was considered and discarded. If so, why were the reasons? Mosteo 12:58, 21 November 2006 (UTC)

 * Yes, the whole page might need smaller steps. The predefined string hashing could help, too. gb 21:22, 31 May 2007 (UTC)

title: Talk:Ada Programming/Containers


text:
Horticulture/Neem Oil

Neem oil is a vegetable oil pressed from the fruits and seeds of the Neem tree, Azadirachta indica, which is endemic to the Indian sub-continent and has been introduced to many other areas in the tropics. It is perhaps the most important of the commercially available products of neem.

The oil is generally light to dark brown, bitter and has a rather strong odour that is said to combine the odours of peanut and garlic. It comprises mainly triglycerides and large amounts of triterpenoid compounds, which are responsible for the bitter taste. It is hydrophobic in nature and in order to emulsify it in water for application purposes, it must be formulated with appropriate surfactants.

Neem oil also contains steroids (campesterol, beta-sitosterol, stigmasterol) and a plethora of triterpenoids of which Azadirachtin is the most well known and studied. The Azadirachtin content of Neem Oil varies from 300ppm to over 2000ppm depending on the quality of the neem seeds crushed.

The method of processing is likely to affect the composition of the oil, since the methods used, such as pressing (expelling) or solvent extraction are unlikely to remove exactly the same mix of components in the same proportions.The Neem oil yield that can be obtained from neem seed kernels varies also widely in literature and varies from 25% to 45%.

The oil can be obtained through pressing (crushing) of the seed kernel both through cold pressing or through a process incorporating temperature controls.

Neem seed oil can also be obtained by solvent extraction of the neem seed, fruit, oilcake or kernel. A large industry in India extracts the oil remaining in the seed cake using hexane. This solvent-extracted oil is of a lower quality as compared to the cold pressed oil and is mostly used for soap manufacturing.

Neem cake is a by-product obtained in the solvent extraction process for neem oil.

Uses
Neem oil is not used for cooking purposes but, in India and Bangladesh, it is used for preparing cosmetics (soap, hair products, body hygiene creams, hand creams) and in Ayurvedic, Unani and other traditional medicines is used in the treatment of a wide range of afflictions. The most frequently reported indications in ancient Ayurvedic writings are skin diseases, inflammations and fevers, and more recently rheumatic disorders, insect repellent and insecticidal effects.

Traditional Ayurvedic uses of neem include the treatment of fever, leprosy, malaria, ophthalmia and tuberculosis. Various folk remedies for neem include use as an anthelmintic, antifeedant, antiseptic, diuretic, emmenagogue, contraceptive, febrifuge, parasiticide, pediculocide and insecticide. It has been used in traditional medicine for the treatment of tetanus, urticaria, eczema, scrofula and erysipelas. Traditional routes of administration of neem extracts included oral, vaginal and topical use. Neem oil has an extensive history of human use in India and surrounding regions for a variety of therapeutic purposes.

Formulations made of Neem oil also find wide usage as a bio-pesticide for organic farming, as it repels a wide variety of pests including the mealy bug, beet armyworm, aphids, the cabbage worm, nematodes and the Japanese beetle. Neem Oil is non-toxic to mammals and birds as well as many beneficial insects such as honeybees and lady bugs. Neem oil also controls black spot, powdery mildew, anthracnose and rust.

Application
Applied in a spray at 100:1 or 200:1. Agitation is recommended.

title: Horticulture/Neem Oil


text:
User talk:Unixxx

Speedy deletion clarification
I was going through the speedy deletion category and came across Jeep Liberty/Drivetrain. You said in the delete template: "Content moved to http://en.wikibooks.org/wiki/Jeep_Liberty/Gearing" but the bottom part (sections: Traction-Adders, Front and Rear) aren't there. Do you not want these? --Swift 13:41, 21 November 2006 (UTC)

 * The links in those three sections have been moved to the main table of contents here: http://en.wikibooks.org/wiki/Jeep_Liberty. Feel free to delete the Drivetrain page with the Speedy Deletion message on it.  Just don't delete the actual pages to which it points.  Thanks Unixxx 18:15, 21 November 2006 (UTC)

 * Thanks for your responce. I've deleted the page. --Swift 10:43, 22 November 2006 (UTC)

Welcome

 * Though you have been here for a while, you haven't done much outside the Jeep Liberty Wikibook and, therefore, Wikibookians may not have noticed your prolific work. I just wanted to thank you for your efforts and, though it is a little late, welcome you to the project.
 * ''I formatted your comment above to follow MediaWiki "conventions". I apologise if I mistook your preference for discussion formatting for something else.

Hello and welcome to Wikibooks!

Here are some tips to help you get started:
 * You can sign your name on Talk and vote pages using four tildes, like this: ~~~~.
 * Remember to conduct any editing experiments in the sandbox.
 * If you're a Wikipedian, see Wikibooks for Wikipedians for a primer on how things work here (it's a little different).
 * If you want to base your work here on materials from Wikipedia, please use WB:RFI to bring the material over in compliance with the GFDL.
 * If you're an instructor and plan on using wikibooks for a class project, see Guidelines for class projects
 * Please say hello at the Staff Lounge with any questions or ideas.
 * Eventually, you might want to read the Manual of Style and Policies and Guidelines.
 * Please take a look at Naming policy before starting a new book.
 * Remember to maintain a Neutral point of view.
 * Explore, be bold in editing pages, and have fun!

You will find more resources in Community Portal. If you want to ask a question, visit the Study help desk, the Staff lounge, IRC channel or ask me personally on my talk page.

Good luck! --Swift 10:43, 22 November 2006 (UTC)

Userboxes show up huge in Firefox
Hi, Unixxx, I too use Firefox on unix, as I see you do (on wikipedia, actually). I have a hi-res screen (1920x1200) and adjusted the pixel per inch (ppi) rate accurately to 147. Now, most things come out reasonable, but the basic font of wikipedia (and many other websites) come out ridiculously small. If I use the Ctrl-+ to increase normal font to readable, then everything is fine, but the userboxes: they come out huge, see here. Would you know how to handle this problem? Wimvandorst (talk) 22:55, 24 December 2007 (UTC).

title: User talk:Unixxx


text:
Cookbook:Baked Chicken with Onions, Sumac and Allspice (Musakhan)

| Middle Eastern cuisines

Musakhan, also مسخّن (Arabic), is a Palestinian country dish. It is chicken baked with onions, sumac, and allspice, and garnished with fried pine nuts.

Ingredients

 * 1 ea. (about 3½ pounds / 1.5 kg) whole free-range chicken
 * Salt, to taste
 * Freshly-ground black pepper, to taste
 * ½ cup extra virgin olive oil
 * 3½ pounds (1.5 kg) onions, peeled and sliced thin
 * ¼ cup soumak
 * ½ teaspoon ground allspice
 * 2 large khubz 'arabi (Arabic flatbread or pita bread), split open and separated
 * Pine nuts to decorate

Procedure

 * 1) Cut the chicken up into two breasts, two thighs, two legs, and two wings. Salt and pepper the chicken.
 * 2) In a large, deep pot, heat ¼ cup of the olive oil, then lightly brown the chicken on all sides over a medium heat, about 20 minutes. Remove and set aside.
 * 3) Add the remaining ¼ cup olive oil to the pot and cook the onions until translucent, about 35 minutes, stirring occasionally.
 * 4) Add the sumac and allspice and cook for 2 minutes to mix.
 * 5) Preheat the oven to 350°F (175°C).
 * 6) Cover a 9 x 12-inch baking dish with the Arabic bread. Spoon half the onions over each, then arrange the chicken on top of the onions and cover with the remaining onions and the juices from the casserole.
 * 7) Bake until the chicken is golden crisp and almost falling off the bone, about 1½ hours.
 * 8) Roast the pine nuts in a pan until golden in olive oil.
 * 9) Sprinkle with the roasted pine nuts and serve with yoghurt.


text: Category:Welcome templates

title: Category:Welcome templates


text:
Template:Welcome/doc

Given the value of the Wikibooks community and to help newly registered users to get acquainted to Wikibooks, it is encouraged that they be welcomed and given some useful links and hints. There are no rules as to when to welcome new users. Use your own judgement. Take a look at their contributions to see whether they are likely to join or if they have already been with the program for a while.

Usage
Place on the user's talk page (not the user page itself) and sign it. A short personal note is always nice. You can include it in the template: your note here which will replace the standard salutation but still display the welcome package.

title: Template:Welcome/doc


text:
User talk:Supe95~enwikibooks

Hello and welcome to Wikibooks!

Here are some tips to help you get started:
 * You can sign your name on Talk and vote pages using four tildes, like this: ~~~~.
 * Remember to conduct any editing experiments in the sandbox.
 * If you're a Wikipedian, see Wikibooks for Wikipedians for a primer on how things work here (it's a little different).
 * If you want to base your work here on materials from Wikipedia, please use WB:RFI to bring the material over in compliance with the GFDL.
 * If you're an instructor and plan on using wikibooks for a class project, see Guidelines for class projects
 * Please say hello at the Staff Lounge with any questions or ideas.
 * Eventually, you might want to read the Manual of Style and Policies and Guidelines.
 * Please take a look at Naming policy before starting a new book.
 * Remember to maintain a Neutral point of view.
 * Explore, be bold in editing pages, and have fun!

You will find more resources in Community Portal. If you want to ask a question, visit the Study help desk, the Staff lounge, IRC channel or ask me personally on my talk page.

Good luck! --Swift 14:58, 21 November 2006 (UTC)

Deleted module with your username
I just deleted Supe95 as it was in the main namespace. Please use your userpage instead. --Swift 14:58, 21 November 2006 (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 Supe95. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Supe95~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 23:44, 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) 05:34, 19 April 2015 (UTC)

title: User talk:Supe95~enwikibooks


text:
Falconry

Training raptors (birds of prey) is a complex undertaking. Books containing hundreds of pages of information and advice by experienced falconers are still rudimentary at best. Many important details vary between individual raptors, species of raptors and between places and times. Unfortunately, without mentoring by an experienced falconer, raptors may be illegally taken and kept, and can be harmed by uneducated pseudo-falconers. Rather than attempt to train a raptor using only internet resources and books, it is wise to find experienced falconers and volunteer or apprentice with them.

Content

 * /Equipment/
 * /Housing/
 * /Diet/
 * /Manning/
 * /Relationship Between Falconer and Bird/
 * /Wild Birds/
 * /Imprinted and Non-Imprinted Captive Birds/
 * /Training Hawks/
 * /Telemetry/
 * /Pitfalls/

Suggested reading and sources

 * "North American Falconry And Hunting Hawks" by Hal Webster and Frank Beebe
 * Care And Management Of Captive Raptors, Arent & Martell, University of Minnesota's Raptor Center
 * History of Falconry
 * Understanding the Bird of Prey, Nick Fox, Hancock House ISBN 0-88839-317-2
 * Falconry and Halking, Phillip Glasier, Bastford, ISBN 0-7134-8407-1

title: Falconry


text:
Talk:Falconry

This subject is FAR too complicated and there are far too many varying opinions about how it should be accomplished, for it to ever be Encyclopedic. Again, put 10 falconers in a room and you'll get 12 opinions. We can agree on basics, but past that point, there are certain to be discrepancies. Some are owing to differences in experiences, others owing to differences in experience levels/tenure in falconry.

I recommend against inclusion in Book, and remain only barely comfortable with the existence of this article at all, as it may mislead some to attempt to practice falconry based on this meager guide.

Let's talk about this some before we go adding things, ok?

--JT 04:32, 16 November 2006 (UTC)

title: Talk:Falconry


text:
Woodworking/Glossary

A

 * Applied carving: background which is worked separately and then applied, rather than being worked in place.

B

 * Bead:a semicircular piece of moulding.
 * Bench dog: a peg standing proud of the bench surface.
 * Bolster: shoulder.
 * Burl: a knotty growth from a tree with a convoluted, complex grain.

C

 * Cannel, channel: the concavity of a gouge blade.
 * Card scraper: a flat blade with a burred edge used for smoothing.
 * Chip carving: incised surface decoration, usually geometric.
 * Chops: a type of vise.
 * Close grain: woods with very fine fibers of cells that are not visibly porous.
 * Conversion: reduction of a whole log into pieces suitable for working.
 * Crook: longitudinal bending to one side, caused by uneven seasoning or grain.
 * Crotch: the section of a tree where a branch divides from the trunk, or the trunk divides in two; typically an area of convoluted grain.
 * Crossgrain: working perpendicular to the grain.
 * Cup: transverse bending, convex or concave, usually predictable, considering grain orientation.

D

 * Dado: a slot made across the grain.
 * Devil stone: a coarse, hard dressing stone used in sharpening tools, grinders, and other stones.
 * dovetail: a trapezoidal protrusion usually at the end of a piece of wood.
 * Dressing stone: a rough sharpening stone usually used on other stones.
 * Drill : (verb) the process of making holes in a material or (noun) a tool for drilling holes.
 * Dutchman: a diamond-shaped patch of wood used to repair surface blemishes and knotholes.

E

 * End grain: the grain grain at the end of a piece of wood which is perpendicular to the surface.

F

 * Face: when a board has one side that is wider than the other, the wider side is referred to as the face (as opposed to the edge). May also refer to the face that is to be visible in the finished item.
 * Fence: a flat and straight length of some material, usually wood, steel or aluminium, which provides a reference for tools to work against, or which prevents the work from sliding.
 * Fiber/fibre: the fine tube-like structure of wood which is hollow and determines the grain direction.
 * Figure: naturally occurring decorative patterns in wood, usually due to medullary rays.
 * Firmer: a chisel bevelled on both sides instead of only one.
 * Fishtail chisel or gouge: a chisel or gouge with a splayed end.
 * Flat gouge: a gouge with minimal curvature, used for finishing and smoothing.
 * Flitch: a board in which the round of the trunk is still visible, a rough-cut board.
 * Flute: a deep channel cut in wood; occasionally denotes the cannel of a gouge.
 * Foxing: a yellow-brown discoloration of wood due to fungal infection.
 * Fret saw: a saw with a very fine toothed blade used for delicate cuts in thin material.
 * Frosting: regular indented patterns created with a special-purpose punch called a froster.

G

 * Wood|Grain: the longitudinal fibers in wood.
 * Gouge: a chisel like tool with a curved cutting edge.
 * Green wood: unseasoned wood.
 * Grit: The grade of particles in sandpaper or sharpening stones which determines the aggressiveness of the cut.

H

 * Hand plane: see Plane.
 * Hardwood: wood from an angiosperm tree, i.e. a tree in the division Magnoliophyta; Despite the name, not necessarily very hard or dense wood (e.g. balsa is a hardwood), although generally harder than softwoods.
 * Heart shake: a shake radiating out from the heartwood.
 * Heel: the corner of a chisel, knife, or gouge bevel which meets the back of the blade and polishes the cut.
 * Hold down or hold fast: a hold-down iron, fitting into a hole in a bench, tightened or loosened by hammer taps.
 * Hollow grinding: a concave bevel on a chisel, gouge, or knife.

I

 * Incannel: the concave surface of a gouge; a gouge sharpened on the concave surface.
 * Interlocked grain: grain which has multiple longitudinal directions in alternating layers, typical of many tropical hardwoods, and very difficult to work and to produce smooth surfaces.

J

 * Jig saw: a power tool that cuts by moving a blade up and down as it is guided through the cut.

K

 * Kerf: the gap left when material is removed by a saw. The width of the kerf is equal to the set of the saw.

L

 * Lead: the tendency for wood that is being cut to direct the saw parallel to its grain.

M

 * Mortise or Mortice: a cavity or hole (generally rectangular) in a piece of wood, meant to receive a tenon or a hinge

O

 * Outcannel: the convex surface of a gouge; a gouge sharpened on the convex surface.

P

 * Plane: (verb) the process of removing material in thin shavings in order to make it flat, or (noun) a tool for planing.
 * Plane iron: cutting part of a hand plane.

Q

 * Quarter-sawn: describes a plank with growth rings perpendicular to the wider face [[media:Softwood endgrain marked.png|(see picture)]].

R

 * Rail: Horizontal member of a frame on a door, window or panel.
 * Rasp: a long and flat steel tool with raised teeth for shaping wood.
 * Reed: a series of beads in a row.
 * Relief cut: short straight cuts made at right angles to a curved layout so sharper than normal curves can be cut with a jig saw or band saw.
 * Riffler: a paddle-shaped rasp.
 * Rift sawn similar to quarter-sawn.
 * Ring shake: a shake occurring between annual rings.

S

 * Saw rasp: a rasp with saw teeth.
 * Scorp: a drawknife with a curved, sometimes completely circular blade; often used for hollowing out objects such as bowls.
 * Scroll saw: a motorized fretsaw.
 * Seasoning: reducing the moisture content of wood before working to prevent cracking, splitting, and other damage due to drying.
 * Shake: a crack or split in wood, caused by damage or drying. Can also mean a split (as opposed to sawn) shingle.
 * Shoot: planing an edge straight or square. See Shooting board.
 * Slab-cut: describes a plank with growth rings roughly parallel to the wider face [[media:Softwood endgrain marked.png|(see picture)]].
 * Slip: a shaped stone used for sharpening non-flat blades such as gouges.
 * Snib: a wooden toggle used to hold the work on a table.
 * Softwood: wood from a gymnosperm tree, i.e., trees in the divisions Pinophyta and Ginkgophyta; Despite the name, not necessarily very soft or light wood (e.g., douglas-fir is a softwood).
 * Spalting: a change in the texture, strength and color of wood caused by colonies of fungus growing within the dead wood. Where colonies of fungus meet, fine black lines - often considered a desirable feature, can be seen.
 * Split: to longitudinally separate wood along grain layers.
 * Sticking: a moulding that is part of a larger piece of wood such as a frame (as opposed to being applied).
 * Stile (or sometimes style): Vertical member of a frame on a door, window or panel.
 * Sweep: the curvature of a gouge, ranging from flat (little curvature, but not actually flat else it would be a chisel) to deep or quick.

T

 * Tear out: broken or torn fibres resulting from damage as the blade of a tool exits the cut.
 * Tenon:is a projection on the end of a piece of wood for insertion into a mortise.
 * Twist: longitudinal twisting of wood due to uneven seasoning or grain.

U

 * Undercutting: cutting away from an edge to increase the sense of relief or thinness.

V

 * Veiner: a small deep gouge.
 * Veneer: very thin slices of wood used for inlay or to cover surfaces.
 * Veneer saw: speciality tool for trimming veneer.

W

 * Wane: an edge of a sawn board where the bark or surface of the trunk remains.
 * Warp: distorted lumber, such as a twist, cup or a bow.
 * Wasting: quickly removing wood during carving, usually with an adze, knife, or rasp.
 * Waste: wood that will be removed in the finished work, often retained during working as a handle.

title: Woodworking/Glossary


text:
Woodworking

Welcome to the Woodworking Wikibook, a collaborative textbook about cabinet making and joinery aimed at beginners to the trade. Here you will learn from 'first principles' with an emphasis on technique and improving your skills, not working with ready-dressed timber and shop-sharpened tools. It is vital that the beginner, tentatively embarking into this fascinating world, be led down a path that balances their desire to make beautiful furniture with a solid understanding of the fundamentals. Learning the fundamentals requires hard work and tedious repetition, which can quickly sap the enthusiasm of even the most experienced and dedicated woodworkers. The following of only the heart's desire, however, will almost certainly result in frustration and poor quality results as the learner tries to reach beyond his or her ability.

We endeavor to find the correct path in this book; acknowledging that the beginner's woodworking will often be curtailed by limitations concerning money, time, or space. Even with these restraints, he or she will likely still want to do the best work possible. If we fail to be clear, please feel free to edit or add the relevant text or images (or you can just leave a note on the talk page asking someone else to do it).

Table of Contents

 * 1) /Before you Begin/ - First thoughts / Introduction
 * 2) /Setting up a home workshop/ — Acquiring the first tools, converting a garage or basement, and building a workbench are all covered in this chapter.
 * 3) /Sharpening/ — Shaping, tuning, honing, and buffing of all woodworking edge tools.
 * 4) /Essential Hand Tools/ — This chapter covers the basic hand tools found in most small woodworking shops.
 * 5) /Tool and Workshop Maintenance/ — Once a space has been set up, and tools acquired, all must be looked after properly.
 * 6) /Breaking down and dressing/ — Reducing rough-sawn timber to size, and cleaning it up to be ready for work.
 * 7) Joints:
 * 8) /Mortice and tenon joints/ — How to cut mortices and tenons, including stopped, through, and other more complicated variations of this joint.
 * 9) …these chapters still to come (or you could help write them yourself!)…
 * 10) /Glossary/
 * 11) /The Woodworkers Library/ — Books and resources that may be helpful

Contributors

 * Sam Wilson
 * Dbr4good
 * SBJohnny
 * Swgeeknm
 * …add yourself here if you've contributed to this book.

title: Woodworking


text:
Piano/Playing by Ear: Lesson 02/Notes 02

Voilá! Did you get it right?


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User talk:Koliscak

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

Sorry for spamming you with the welcome message, but its what we admins do :-) Have fun at Wikibooks. --Dragontamer 16:42, 21 November 2006 (UTC)

title: User talk:Koliscak


text:
User talk:EmilySipes

Hi, my name is Emily. Leave me a message below. EmilySipes 17:40, 21 November 2006 (UTC)

title: User talk:EmilySipes


text:
The Computer Revolution/Artificial Intelligence/Branches of & Applying AI

AI – Intelligence, Intelligence Agents & Key Areas of AI Research
Humans throughout history appear to have attempted to recreate themselves in some form of artificial person. In fact, the earliest examples may be heralded from the Greek Gods and the “intellectual roots of AI, and the concept of intelligent machines, may be found in Greek mythology” (http://www.aaai.org/AITopics/html/history.html  Retrieved Dec 7, 2006). For a more comprehensive look at, but still brief history of AI, one can consult a chronology of significant events by Bruce G. Buchanan (http://www.aaai.org/AITopics/bbhist.html  Retrieved Dec 7, 2006).

AI or Artificial Intelligence is a huge field of study with many subfields, but the main “underlying theme is the idea of an intelligent agents …” which are considered to be “systems that can decide what to do and then do it” (http://aima.cs.berkeley.edu/preface.html  Retrieved Dec 7, 2006). Intelligent agents are “… a form of software with built-in intelligence that monitors work patterns, asks questions, and performs work tasks on your behalf” (Williams & Sawyer, 2007, Using Information Technology: A Practical Introduction to Computers & Communications,  Montreal: McGraw-Hill Irwin, p. 442). Therefore, it is not uncommon to encounter references in AI literature about aspects of trying to achieve “intelligence” or making machines “intelligent,” especially in the computer world where attempts are made to make intelligent computer programs or to use computers to understand human intelligence. So, “intelligence is the computational part of the ability to achieve goals in the world, [but there exists] varying kinds and degrees of intelligence [that] occur in people, many animals and some machines,” so the whole idea of AI is extremely complex – as are humans themselves (http://www-formal.stanford.edu/jmc/whatisai/whatisai.html  Retrieved 7, 2006).

But it is generally considered a possibility that human intelligence is attainable, especially after the advent of modern computers following World War II which made it “… possible to create programs that perform difficult intelligent tasks … “ and in combination with “general purpose methods and tools … [which] allow similar tasks to be performed” (http://www.aaai.org/AITopics/html/history.html  Retrieved Dec 7, 2006). In fact, for many of us, we are oblivious to how much AI is already a big part of our everyday life. Some of applications already in existence can be found at http://www.aaai.org/AITopics/html/applications.html (Retrieved Dec 7, 2006). The next time that annoying little Microsoft Office Assistant gets in your face, believe that AI is at work for you.

There are many areas involved in AI research, but some key ones to note are: knowledge acquisition and knowledge base development, knowledge representation and reasoning, machine learning or computational approach to learning, robotics or application of artificial intelligence techniques, and computer vision based on sensed images (http://www.ai.cse.unsw.edu.au/  Retrieved Dec 7, 2006). Likewise, there are different research areas. Two main and interconnected lines of research include one that is “biological” in nature and the other that is “phenomenal.” The former stems from the basic premise that humans are intelligent so AI should be involved in the “… study of humans and attempt to imitate their psychology and physiology,” while the latter is primarily focused on the world and the view that research needs to be “… based on studying and formalizing common sense facts about the world and the problems [it] … presents to the achievement of goals”  (http://www-formal.stanford.edu/jmc/whatisai/node4.html  Retrieved Dec 7, 2006).

No doubt there is a need for both streams and a great deal of collaboration between them. We can revisit the definition of AI see that, in fact, “… artificial intelligence (AI) [is] are group of related technologies used for developing machines to emulate human qualities …” (Williams & Sawyer, p. 440).

Epistemology
Epistemology is the study of knowledge. This study tries to figure out how computers and humans determine what is accurate (true) knowledge and what is inaccurate (false) knowledge. Obviously it is much easier for humans to comprehend what is true or false from background and learned information; however this study aims to question how can a computer determine what is right and wrong. Epistemology, in simple words, concerns itself with the study of the knowledge that can prove useful in the study of the solving of the problems that plague the world. Epistemology, although conventionally considered a branch of philosophy, has managed to carve for itself a niche in artificial engineering. As a branch of artificial intelligence however, epistemology focuses on answering four core questions: What is knowledge? How is knowledge acquired? What do people know? How do we know what we know? The term ‘Epistemology’ was first introduced into the English language by the Scottish philosopher James Frederick Ferrier. It was during his lifetime that the world got to know better the fine and finer nuances of epistemology.

Default Reasoning
This branch of artificial intelligence means that conclusions can be made by given a certain amount of information and fact. People conclude things based on a limited amount of information. This type of reasoning is based on our background knowledge, education, socialization and partly opinion. I sort of feel this type of reasoning is somewhat like “Jumping to Conclusions”?? With any conclusion or statement you make based on default reasoning you always run the risk of being proven wrong if additional information is obtained that changes the way you would conclude the information.

Pattern Recognition
Pattern Recognition is the computers vision not unlike the way your eyes view patterns and recognize objects. It is a computers way of figuring out what an object is by use of a pattern--115.249.219.114 (discuss) 03:32, 6 May 2013 (UTC).


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A-level Mathematics/OCR/C4/Advanced Integration

Integration Involving Linear Substitution
Integrating a function with a linear substitution is the same as performing the chain rule in reverse. In Core four we formalize the knowledge that we learned in core three. Yet the procedure that we learn in core three is the same in core 4. In order to integrate the function $$ \int f^'[g(x)].g^'(x)\, dx = f[g(x)] +c $$.

Example
Integrate 12cos(12x + 9).
 * 1) g(x) = 12x + 9 and $$\frac{dg(x)}{dx} = 12$$
 * 2) sin(12x+9) + C

Integration by Parts
Integration by parts does not actually solve the problem as the method of substitution does, instead it changes the function into something that is (hopefully) easier to integrate, either by substitution or otherwise.

Consider the product rule:

$$\frac{dy}{dx} = v\frac{du}{dx} + u\frac{dv}{dx}$$

Integrating this rule gives:

$$\int \frac{dy}{dx}\,dx = \int v \frac{du}{dx}\,dx + \int u \frac{dv}{dx}\,dx$$

$$\Rightarrow \int \frac{dy}{dx}\,dx - \int v \frac{du}{dx}\,dx = \int u \frac{dv}{dx}\,dx$$

$$\Rightarrow \int u \frac{dv}{dx}\,dx = uv - \int v \frac{du}{dx}\,dx$$

The function we need to integrate has now changed from $$u \tfrac{dv}{dx}$$ to $$v \tfrac{du}{dx}$$

Examples
Integrate $$xe^x$$ with respect to $$x$$
 * 1) $$u = x \Rightarrow \tfrac{du}{dx} = 1$$
 * 2) $$\tfrac{dv}{dx} = e^x \Rightarrow v = e^x$$
 * 3) $$\int xe^x\,dx = xe^x - \int 1 \cdot e^x\,dx$$
 * 4) $$= xe^x - e^x + c\,\!$$
 * 5) $$= (x-1)e^x + c\,\!$$

Another more complex example:

Integrate $$x^2e^x$$ with respect to $$x$$
 * 1) $$u = x^2 \Rightarrow \frac{du}{dx} = 2x$$
 * 2) $$\frac{dv}{dx} = e^x \Rightarrow v = e^x$$
 * 3) $$\int x^2e^x\,dx = x^2e^x - \int 2x \cdot e^x\,dx$$
 * 4) Now we can use integration by parts again on $$\int 2x \cdot e^x\,dx$$:
 * 5) $$u = 2x \Rightarrow \frac{du}{dx} = 2$$
 * 6) $$\frac{dv}{dx} = e^x \Rightarrow v = e^x$$
 * 7) $$x^2e^x - \int 2x \cdot e^x\,dx = x^2e^x - (2xe^x - \int 2e^x\,dx)$$
 * 8) $$= x^2e^x - 2xe^x + 2e^x + c\,\!$$
 * 9) $$= e^x(x^2 - 2x + 2) + c\,\!$$


text:
A-level Mathematics/OCR/C4/Formulae

Formulae
By the end of this module you will be expected to have learnt the following formulae:

Differentiation

 * If $$y = \sin kx,\,$$ then $$\frac{dy}{dx} = k\cos kx$$.
 * If $$y = \cos kx,\,$$ then $$\frac{dy}{dx} = -k\sin kx$$.

Integration

 * $$ \int \cos kx\, dx = \frac{1}{k}\sin kx +c $$
 * $$ \int \sin kx\, dx = -\frac{1}{k}\cos kx +c $$
 * $$ \int f^'[g(x)].g^'(x)\, dx = f[g(x)] +c $$

Vectors

 * $$ \left| x\mathbf{i}+y\mathbf{j}+z\mathbf{k} \right| = \sqrt{x^2+y^2+z^2} $$
 * $$(a\mathbf{i}+b\mathbf{j}+c\mathbf{k})\cdot(x\mathbf{i}+y\mathbf{j}+z\mathbf{k})=ax+by+cz$$
 * $$ \mathbf{a}\cdot\mathbf{b} = \left|\mathbf{a}\right|\left|\mathbf{b}\right|\cos \theta $$
 * The vector equation of a line through point $$\mathbf{a}$$ with direction $$\mathbf{b}$$ is $$\mathbf{r} = \mathbf{a} + t\mathbf{b}$$

title: A-level Mathematics/OCR/C4/Formulae


text:
Talk:Organic Chemistry/Alcohols

We need to clean up the Naming of alcohols section. That table is not very pretty and not particularly useful, I don't think. -- Pete 18:55, 21 November 2006 (UTC)

Grignard reaction mechanism
Okay, I pretty much made up most of the Grignard reaction mechanism, interpreting from the drawing and filling in the blanks from what little Wikipedia provides. The part involving esters is pretty much correct, I believe. So, if someone who really understands the Grignard reation with carbonyls can double-check and perhaps correct what I've written, that would be great. -- Pete 03:27, 22 November 2006 (UTC)

Diagrams
I wonder if we could use text rather thna diagrams more often? It would benefit readers who used text-reading software, or who need to enlarge text. I realise that much organic chemistry is just plain visual and we cannot accommodate people who can't see too well, but I think some diagrams could be text and it might even save us the time making the diagram...

Not as pretty as the diagram, but more flexible IMHO. What do you think?

Ewen 06:54, 22 November 2006 (UTC)

 * Ewen, Having had some experience with a text readers in the past, I suspect a text reader would not be much more useful than an image for that Though enlarging the text would make it larger, those images are pretty large and you can click to go to the full-size ones.
 * Honestly, though, my only real argument for the images is I think they look better and part of what attracts people to books is the look. The old "don't judge a book by its cover" is an expression precisely because that's what people do 9 out of 10 times. I do it, and I should definitely know better. I personally find the text-oriented formulas, generally, not very nice and I don't like showing say, an ester as R'COOR". You and I can look at it and say, "Ah, it's an ester", but students of organic chemistry may very well have difficulty realizing that there's a C=O double bond there. I don't mind using that notation sometimes, so that readers get exposed to both, but I definitely wouldn't want it to predominate in a basic textbook. And since that has come up, I'm going to go back and add some information about that in the Functional Groups section just so there is some help in recognizing that kind of notation.
 * Almost every modern textbook has the diagrams done pretty nicely. As I'm writing, I try to keep in mind the very first sentence of the Forward to this book: "This book should become the gold standard of organic chemistry texts in the areas of accuracy, usability, flexibility, and connection with its audience." If this book is ever to be a gold standard, it needs to look like one as well as be written like one. Anyway, that's just my opinion. It's certainly open for debate. But I'm of the opinion that it would be difficult for us to have too many graphics. -- Pete 14:39, 22 November 2006 (UTC)

 * I suppose the finesse would be to have the graphic with alternative text for people who need it read for them... Ewen 14:54, 22 November 2006 (UTC)
 * Does media wiki have support for accessibility features like that? If it does, then I think that's DEFINITELY worthwhile. And that, I think WOULD be working towards the goal of a "gold standard"! -- Pete 14:56, 22 November 2006 (UTC)
 * Just read [|this page] on Wikipedia's accessibility policy. It appears that the captions are their expectations for reading. I guess we could describe some of the images better in the captions... -- Pete 15:02, 22 November 2006 (UTC)

IUPAC
This may be just a picky detail, but for the naming section, a lot of the so-called common names are actually approved by IUPAC, at least according to James G. Traynham, who writes in Organic Nomenclature "The IUPAC rules are actually more permissive among styles of names than many authors seem to believe. tert-Butyl alcohol and 2-methyl-2-propanol are both IUPAC-approved names for the same compound..." Perhaps we could replace the IUPAC label with the label "substitutive" instead? -- WilliamJenkins09 04:37, 9 February 2007 (UTC)

title: Talk:Organic Chemistry/Alcohols