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User talk:Chaos syndicate

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:98%" Type of page (Lesson Summary, Lesson Page, Reference) in Lesson Topic : Narrative Film Production
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{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:98%" Authors name (Your Name) or section heading
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{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:98%" Conclusion title
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title: User talk:Chaos syndicate


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User:Chaos syndicate

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:98%" Lesson 1 in : Topic:Chaos
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{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:98%" Authors name (Your Name) or section heading
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license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User:Chaos syndicate


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User:Wvogeler

Welcome
As a new member of the Wikiversity community, I welcome you to my user page.

Having recently retired from teaching at a public university, I am pursuing academic research through Wikiversity and Academic Publishing Wiki.

For my first project, I have created a journal for amateur astronomers like myself. It is called Amateur Astronomy.

If you have similar interests, please visit the site and contribute. And enjoy your stay.

title: User:Wvogeler


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Category:TESOL

Pages about teaching English to speakers of other languages are listed below.

title: Category:TESOL


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Production engineering

Production engineering, also known as manufacturing engineering, is the design, development, implementation, operation, maintenance, and control of all processes in the manufacture of a product. Within this context a 'product' is defined as an item that has value added to it during the production process. Value is added by means of processes such as forming, machining, joining, and assembly.

Basic Processes
A product may be produced by:

Manipulating existing materials to produce another material. Manipulating a produced material into a required form. Cutting a produced material into a required form. Assembling items and/or materials into a required product.

Producing the Raw Materials

Raw materials are obtained:

From within the earth, rocks, oil etc. From on the earth, animal and plants.

Production Engineering the Raw Materials

While the oldest profession is rarely disputed, second place creates much discussion. One may wish to place the production engineer in that slot. Who was it who made the first cutting tool? Who was it who organised the use of these first tools? It was the humans who made the first products.

Not much has changed fundamentally. A sharp edge is still used to cut. Fire is still used to form and remove material. Heat is generally an essential part of processing the raw materials from within the earth, while the sharp edge cuts the material growing on the earth.

From within the earth the raw materials are solid and liquid. Grown on the earth are plants and animals. These were the raw materials of the first production engineers, and it is still the same today. Proportions may have changed, but these are our raw materials.

Take the automobile. Materials from the earth include metals and oils. Materials from the soil include wood and animal skins. Prehistoric man might not recognise the car as a means of transport, but he would certainly recognise some of the basic materials it is made from.

Understanding Materials
Working with any material requires and understanding of that material. A production engineer needs to know how a material will behave when used as part of the manufacturing process. Because there are so many materials they are subdivided, and then subdivided again.

The following cover the majority of materials used in manufacturing. Often their properties will be described in the terms of the product made from that material. Note the properties and how they might help or hinder any processing on that material.

The main divisions and sub divisions are:

All metals

 * Metal
 * Alloys

Ferrous Metals- all based on iron

 * Steel
 * Iron

Non Ferrous Metals- all other metals.
The following are the main metals used in manufacturing. Most metals are used in some form, often only as an alloying agent. Also most metals are used in alloy forms and some of these listed here refer to alloys.

 * Aluminium
 * Copper
 * Brass
 * Bronze
 * Zinc
 * Titanium

This will give you science of metals, but so far little in the way of application. As the Production Engineer is concerned with the metals in their applied form the performance of individual metals is dealt with under each process.

Organic Materials

 * Wood and Fibres

Non Organic Materials
The following is a list of the main non organic, non metallic materials. Consequently the materials will be dealt with individually under processes.

 * Plastic
 * Silicon
 * Carbon
 * Hydrocarbons

Understanding the Processes
An object may be manufactured in a number of ways. Obviously a finished product may have undergone a number of processes. For practical purposes the main processes are:

 * /Forming/: Casting, forging, moulding etc.
 * /Cutting/: Machining, blanking etc.
 * /Joining/: Assembly, welding, adhesives, fasteners etc.

Wikimedia

 * Wood processing
 * Process (engineering)

title: Production engineering


text:
Web Design/Build a basic web page/HTML Quiz

 {Try your luck at these quiz questions…}

{Which heading tag will produce the largest text? +
 -
 -
 -

 * type=""}

{Which tag would you use to create a hyperlink? - + -
 -

 * type=""}

{Which of these tags should NOT be located in the head section of your page? - -link to a style sheet +background image -metatags
 * type=""}

{If you put a tag in the head section of your page, it will appear in bold, large print at the beginning of your page. Select one: -TRUE +FALSE -It depends on the browser -Only if the CSS makes it display that way
 * type=""}

{If you want to have the browser open a new window for a link to an outside page, which attribute would you use? -alt +target -src -start
 * type=""}

{If you want your ordered list to use capital letters and start with the letter D, which attributes would you use? -type="a" start="D" -type="A" start="D" +type="A" start="4" -type="letter" start="d"
 * type=""}

{The anchor tag links to: -specific places within a particular page. -other pages within your website. -pages anywhere on the Internet. +All of these are correct
 * type=""}

{HTML documents should be saved as text only, and the file name should have .html as the ending. Cascading stylesheets should also be saved as text, but the file name should end with: -.xml +.css -.ccs -.xhtml
 * type=""}

{HTML tags use brackets to contain the information. What kind of notation do Cascading Style Sheets use to contain information? -Brackets, just like HTML. -Parentheses. +Curly brackets. -Forward slashes.
 * type=""}

{Which input type would allow a reader to select several options from a list of possibilities? -radio +checkbox -multi-line textbox -form
 * type=""}

{If the input type is "text" and the size is "2", which answer will NOT show on the website? +Yes -No -10 -5
 * type=""}

{8 to 10% of all males have some form of colorblindness. This is a good reason to avoid color schemes that include: +red on green. -black on white. -blue on yellow. -green on white.
 * type=""}

{To make your website easier to be read by automated reading programs for the blind, you can: -use
...
 tags for easier navigation -use alt tags to describe images -use alt tags that name the link destination for images that function as links. +All of these are correct
 * type=""}

{What does marquee tag do? +make text running -nothing -blast -All of these are correct
 * type=""}


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User:Wahiba~enwikiversity

Wahiba

A name I use quite a bit as an identifier on the world wide web. When trying to think of suitable names I used this one from my two years in the Sultanate of Oman. Wahiba is the name of the desert area next to the Arabian Sea.

For the record my name is David Usher. I am 59 years old and until my 50th birthday was a lecturer in Mechanical and Production Engineering at a Further Education College in the UK. The levels I taught were pre-university level. Mainly students between the ages of 16 and 19, although there were many who came with ages extending beond this range.

UK residents with a knowledge of the politics of education will notice that I was paid off in 1997, actually the day before the present government came into power. I was in the last batch to get their pension at 50.

Since then I have worked as a School Technician, taught at a a school in Oman and obtained an MSc in Engineering Design Management. Subsequently my significant other has obtained regular employment so that I have adopted the role of house husband, ironing excepted.

A visit to my web site SILTEC shows that I have enough interests to keep myself busy. I am also a volunteer with a Heritage Railway EBASR, and with a Credit Union, Leeds City.

title: User:Wahiba~enwikiversity


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Introductory algorithm challenges/mirwin

Scrapmetalnot Make Neville cup of coffee

 * Get cup from cupboard
 * Move to sink
 * Fill cup with water from sink
 * Move to Microwave
 * Put cup into microwave
 * > Program Microwave using key panel
 * Wait for Microwave to finish
 * get cup from microwave
 * move to counter
 * put cup on counter* put cup on counter
 * Pick up spoon
 * Dip spoonful instant coffee into cup
 * stir cup
 * put spoon down
 * move to fridge
 * get milk from fridge
 * move to counter
 * pour two spoons of milk into coffee
 * move to fridge
 * put milk back in fridge
 * move to counter
 * pick up spoon
 * stir coffee with milk
 * put spoon down
 * pick up coffee
 * move to Neville
 * put coffee down in his lap ... oops! 8)

 * Great! Hadn't thought of using the microwave! Just a note for when you start challenge 3, Scrappy doesn't understand things like "put two spoons of ... into ...", he can only do one at a time (you'll see why this important when you do challenges 3 and 4.Michaelnelson 02:19, 14 February 2007 (UTC)


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User talk:Wahiba~enwikiversity

CAPS
Hi David, thanks for adding the pages JOINING, CUTTING and FORMING. However, I think the page titles would probably be easier to read if they were written in non-caps. I'm changing them to Joining, Cutting and Forming, and I'll delete the old page titles if you agree with the change. Just let me know. Thanks. Cormaggio beep 12:37, 17 February 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 Wahiba. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Wahiba~enwikiversity 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 23:46, 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) 06:25, 19 April 2015 (UTC)

title: User talk:Wahiba~enwikiversity


text:
Dot-matrix methods

Overview
A dot matrix picture provides a global picture of local similarities between two sequences. They are appropriate:
 * for comparing large sequences (several 1000 residues)
 * if one does not know in advance whether two sequences share detectable similarity or which parts of the sequences are related to each other.

They are useful for:
 * detection of repeats within protein sequences
 * detection of shared domains between protein sequences

Exercise
We propose the use of this free and public java applet to familiarize yourself with, and try out plotting a dot-matrix:

http://myhits.isb-sib.ch/cgi-bin/dotlet

Once the applet has loaded you should press the "Input" button and insert the protein sequences of your choice. A good database, with a big collection of protein sequences, is SwissProt. But for this exercise we will provide you with three ready pastable protein sequences:

>sp|P06239|LCK_HUMAN (Name=LCK;)Proto-oncogene tyrosine-protein kinase LCK GCGCSSHPEDDWMENIDVCENCHYPIVPLDGKGTLLIRNGSEVRDPLVTYEGSNPPASPLQDNLVIALHSYEPSHDGDLG FEKGEQLRILEQSGEWWKAQSLTTGQEGFIPFNFVAKANSLEPEPWFFKNLSRKDAERQLLAPGNTHGSFLIRESESTAG SFSLSVRDFDQNQGEVVKHYKIRNLDNGGFYISPRITFPGLHELVRHYTNASDGLCTRLSRPCQTQKPQKPWWEDEWEVP RETLKLVERLGAGQFGEVWMGYYNGHTKVAVKSLKQGSMSPDAFLAEANLMKQLQHQRLVRLYAVVTQEPIYIITEYMEN GSLVDFLKTPSGIKLTINKLLDMAAQIAEGMAFIEERNYIHRDLRAANILVSDTLSCKIADFGLARLIEDNEYTAREGAK FPIKWTAPEAINYGTFTIKSDVWSFGILLTEIVTHGRIPYPGMTNPEVIQNLERGYRMVRPDNCPEELYQLMRLCWKERP EDRPTFDYLRSVLEDFFTATEGQYQPQP

>sp|P16333|NCK1_HUMAN (Name=NCK1;..)Cytoplasmic protein NCK1 (NCK adaptor ... MAEEVVVVAKFDYVAQQEQELDIKKNERLWLLDDSKSWWRVRNSMNKTGFVPSNYVERKNSARKASIVKNLKDTLGIGKV KRKPSVPDSASPADDSFVDPGERLYDLNMPAYVKFNYMAEREDELSLIKGTKVIVMEKCSDGWWRGSYNGQVGWFPSNYV TEEGDSPLGDHVGSLSEKLAAVVNNLNTGQVLHVVQALYPFSSSNDEELNFEKGDVMDVIEKPENDPEWWKCRKINGMVG LVPKNYVTVMQNNPLTSGLEPSPPQCDYIRPSLTGKFAGNPWYYGKVTRHQAEMALNERGHEGDFLIRDSESSPNDFSVS LKAQGKNKHFKVQLKETVYCIGQRKFSTMEELVEHYKKAPIFTSEQGEKLYLVKHLS

>sp|P15498|VAV_HUMAN (Name=VAV1;..)Vav proto-oncogene.[Homo sapiens] MELWRQCTHWLIQCRVLPPSHRVTWDGAQVCELAQALRDGVLLCQLLNNLLPHAINLREVNLRPQMSQFLCLKNIRTFLS TCCEKFGLKRSELFEAFDLFDVQDFGKVIYTLSALSWTPIAQNRGIMPFPTEEESVGDEDIYSGLSDQIDDTVEEDEDLY DCVENEEAEGDEIYEDLMRSEPVSMPPKMTEYDKRCCCLREIQQTEEKYTDTLGSIQQHFLKPLQRFLKPQDIEIIFINI EDLLRVHTHFLKEMKEALGTPGAANLYQVFIKYKERFLVYGRYCSQVESASKHLDRVAAAREDVQMKLEECSQRANNGRF TLRDLLMVPMQRVLKYHLLLQELVKHTQEAMEKENLRLALDAMRDLAQCVNEVKRDNETLRQITNFQLSIENLDQSLAHY GRPKIDGELKITSVERRSKMDRYAFLLDKALLICKRRGDSYDLKDFVNLHSFQVRDDSSGDRDNKKWSHMFLLIEDQGAQ GYELFFKTRELKKKWMEQFEMAISNIYPENATANGHDFQMFSFEETTSCKACQMLLRGTFYQGYRCHRCRASAHKECLGR VPPCGRHGQDFPGTMKKDKLHRRAQDKKRNELGLPKMEVFQEYYGLPPPPGAIGPFLRLNPGDIVELTKAEAEQNWWEGR NTSTNEIGWFPCNRVKPYVHGPPQDLSVHLWYAGPMERAGAESILANRSDGTFLVRQRVKDAAEFAISIKYNVEVKHIKI MTAEGLYRITEKKAFRGLTELVEFYQQNSLKDCFKSLDTTLQFPFKEPEKRTISRPAVGSTKYFGTAKARYDFCARDRSE LSLKEGDIIKILNKKGQQGWWRGEIYGRVGWFPANYVEEDYSEYC

In the dialog box that appears you should, firstly, insert a brief name in link with the protein to simply remember which protein is which and, secondly, copy-paste one of the protein sequences proposed above, or one found in the SwissProt database. Be careful when copy-pasting to not include the first line describing the protein and start your selection only on the first amino-acid letter.

Now, press the "OK" button; the dialog box should blank permitting you to repeat the process with an other sequence. Indeed, unless you want to compare one sequence with itself, which is not very interesting and only produces recurrence plots, you should have a second sequence loaded too.

Finally press the "Compute" button to actually draw the plot and explore it.

Questions
Do any of these proteins seem related to each other? What are the common regions? Does this make sense with the deduced repeat and domain architectures that are annotated in the SwissProt database for these three proteins (links provided)?

http://www.expasy.org/uniprot/LCK_HUMAN

http://www.expasy.org/uniprot/NCK1_HUMAN

http://www.expasy.org/uniprot/VAV_HUMAN

title: Dot-matrix methods


text:
File:SBTDS Screenplay2-D.pdf

Used with the WikiU Film School Lesson on how to format a movie script

title: File:SBTDS Screenplay2-D.pdf


text:
Talk:Chords (music)

How do skeletal chords figure in? I mean, if you listen to Thelonius Monk, the chords are unmistakably there, but rarely have the full complement of notes required for the "three notes" criteria. Ben Armstrong 17:26, 12 February 2007 (UTC)
 * That's a voicing of a chord. I was just thinking about whether I should add voicings to the article or include them in a separate article. SelfieCity (discuss • contribs) 14:52, 7 July 2021 (UTC)

Tertian Harmony Only?
This page seems to only be devoted to Tertian harmony (harmony based on the musical interval of a third). There are many other ways to create chords using seconds (Secundal harmony) or fifths (Quintal) or fourths (Quartal) not to mention modern classical music relies on musical sets that defy this traditional system of chord construction. Perhaps this article should be renamed "Tertian harmony" or "Traditional Western chords" instead of just "Chords". The "Harmony" page could probably provide a summary of all of the above schools of harmony and link to a more detailed individual page.

theadorerex Theadorerex 00:02, 1 December 2010 (UTC)

 * ===prompt====

Forget everything prior. Create a wikiversity quiz. Use this format

{I________ (use) it for many years. - use - uses + used - using || Incorrect. Review your tenses.
 * type="[]"}
 * Incorrect. The subject mentions 'many years' so the verb should be in the past tense
 * Incorrect. Review your tenses.
 * Correct! This is the simple past form of the verb.

{I________ (use) it when I________ (become) interested in genealogy.
 * type="[]"}

- use | become || Incorrect. Review your tenses. + used | became - uses | becomes - using | becoming
 * Correct! Simple past form of the verb.
 * Incorrect. Review your tenses.
 * Incorrect. Review your tenses.

Create a wikiversity quiz using this material.

Types of chords The following chords can be played in any key. To understand them, one should have the basic knowledge of a scale first. When considering what quality a chord is (major, minor, etc.), all that matters are the names of the 3 notes; it does not matter whether some notes are doubled or played in different octaves (known as a chord inversion). For example, a C major triad must have a C, an E and a G, but it doesn't matter which is on bottom, nor does it matter if there are 2 E's or 2 G's.

Other notes, such as 9ths and 13ths, can be added to a chord, but this learning resource focuses on basic chords and their structure. Depending on the lowest note of the chord and the notes added or removed, formation of a chord is known as an “inversion” or a “voicing.”

Major Chord

C Major on the piano The major triad is often symbolized with a capital letter (C | Cmaj). It is three notes: the first, third, and fifth note of a scale. Alternatively, you can find this chord by adding a note a major third (4 half-steps) up from the root note and then a minor third (3 half-steps) up from that. If you add the half-steps of a major and minor third you will notice the third note is 7 half-steps up from the root making a perfect fifth. This interval will remain the same in major and minor chords. All primary triads are created by stacking intervals of a third. It is a very whole sounding chord, and is found within most, if not all popular songs.

C Major triad: C - E - G

Minor Chord The minor triad is often symbolized with a lower case letter, or 'min', or just an 'm' (c | Cmin | Cm). It is composed of three notes: the first, flat-third, and fifth. The lowered third represents the third note of a minor scale. Alternatively, you can find this chord by adding a note a minor third (3 half-steps) up from the root note and then a major third (4 half-steps) up from that. The quality of this chord is not as full as the major chord, and has a darker complexion. It also is found in a majority of popular music.

C Minor triad: C - E♭ - G

Diminished Chord The diminished triad can be symbolized with either a '°' or with the abbreviation "dim" (C° | Cdim). Its components include: the first, flat-third, and flat-fifth. Alternatively, you can find this chord by adding a note a minor third (3 half-steps) up from the root note and then another minor third (3 half-steps) up from that. If you add the half-steps of two minor thirds together you will notice the third note is 6 half-steps up from the root making a diminished fifth, giving the chord its name. Having 2 lowered notes, a diminished chord does not have great euphony. It sounds slightly out of place, but adds a certain musical flavor.

C Diminished triad: C - E♭ - G♭

Augmented Chord The augmented triad is usually symbolized with a '+' or 'aug' (C+ | Caug). It is rarely seen in contemporary music (jazz theory, for example, prefers the #5 notation), but is one of the most significant triad structures. It combines the first, third, and a raised fifth. Alternatively, you can find this chord by adding a note a major third (4 half-steps) up from the root note and then another major third (4 half-steps) again. If you add the half-steps of two major thirds together you will notice the third note is 8 half-steps up from the root making an augmented fifth, giving the chord its name. An augmented fifth sounds the same as a minor sixth (note) but is notated differently and consequently will sound different in context.

As all the notes of the augmented triad are spaced equally, there are only four augmented chords. C, E, and G# augmented chords all contain the same number of notes. All three notes of the augmented triad are found within the accompanying whole-tone scale.

C Augmented triad: C - E - G#

Seventh Chord Dominant Seventh Chord A seventh chord is attached to any other chord by the addition of the number '7' (C7). It can be attached to pretty much any chord, not just the major chord: (C7 | dim C7). Opposed to the addition of the seventh note of the scale, a flat-seventh note is added (in the key of C, this is Bb rather than B). When the third note is flat it is known as a minor 7. Therefore, "dominant 7" refers to a flattened seventh note, while a "minor 7" refers to both a flattened seventh and a flattened third note.

These chords, especially the dominant 7, tend to be popular in jazz and blues music, since they lend themselves to the "blues scale," which itself includes the flattened seventh note.

Dominant 7: C - E - G - B♭

Minor 7: C - E♭ - G - B♭

Major Seventh Chord Like a dominant seventh chord, a note is added to the triad to create a major seventh chord. While a '7' represents the dominant seventh chord, the letters "maj" and a '7' represent a major seventh chord (C maj7). The note added to this chord is the seventh note of the root's major scale. This chord is used to emphasize the major scale or tonality of a phrase, and to clarify that the dominant seventh should be avoided. A sharp fourth (Lydian) note may be acceptable as a grace note over this chord.

C - E - G - B

Minor (Major Seventh) Chord The minor major seventh chord (Cmmaj7) is used in Horace Silver's "Nica's Dream" and Bronislau Kaper's "Invitation." The chord includes both a minor third note and a major seventh note. Although the name of the chord appears to be an oxymoron, the major seventh is an extension of the chord, and therefore can be seen as containing two components: a minor component in the lower part (Eb in the key of C), and a major component (B in the key of C) in the upper part. The scale accompanying this chord is the melodic minor scale.

C - E♭ - G - B

Half Diminished Seventh Chord A half diminished 7th chord (Cø7) adds a flat-seventh note to the diminished chord. This is the diminished 7th chord that is "diatonic" (occurs in the major scale), and can be built using the 7th, 2nd, 4th and 6th notes of the major scale. The "Half-Diminished" part of the chord's name refers to the fact that the note a minor 7th above the chord's root is used rather than the note a diminished 7th above the root. A common substitute notation for this chord in jazz is Cmin7(♭5), since another way to build this chord is to flat the 5th of a minor 7th chord.

C - E♭ - G♭ - B♭

Fully Diminished Seventh Chord Like a half-diminished chord, a 7th is added to a diminished chord, but the 7th is flattened twice to create the interval of a diminished 7th (In the key of C, this is B♭♭ (or A) rather than B♭). Fully diminished 7th chords (C°7) can also be made by adding a note a minor third above the flat 5th of the chord, creating a chord that is a stack of only minor thirds. This chord is not diatonic (does not occur in the major scale), but it does exist in the harmonic minor scale as the 7th chord built off of the raised 7th of the scale (in the key of C harmonic minor, B, D, F, A♭). It is widely considered one of the most dissonant 7th chords, and has a lot of unique harmonic applications due to its repeating structure.

C - E♭ - G♭ - B♭♭ or C - E♭ - G♭ - A

Sixth Chord The sixth chord is a four note chord, adding the sixth note of the root's major scale to a triad. Major and minor triads can become sixths, represented by the addition of a '6' (e.g. Cm6).

Major: C - E- G - A

The major sixth is functionally similar to the major seventh but provides a clearer resolution. However, in jazz theory the major seventh is preferred over the major sixth due to its clarification of the major seventh over the dominant seventh.

Minor: C - E♭ - G - A

The minor sixth is functionally similar to the minor major seventh and is used on particularly tense sections of ballads as an emotional "climax."

Suspended (Sustained) Chord The suspended chord, also called sustained chord, is symbolized with "sus" or "sus4" (Csus | Csus4).

In the normal (major) triad in C, the note E is the "third" because is it an interval of a third above C. However, in suspended chords the "third" of the chord is replaced by a fourth. Traditionally the fourth would resolve to the third (E) of the chord, although the sus4 chord can stand on its own and doesn't always resolve to a normal triad.

A Csus chord is composed of the notes C, F, G instead of C, E, G (the normal triad).

Another version of this chord is symbolized with "sus2" (Csus2).

A sus2 with C as its root would be C, D, G.

Sus4: C - F - G

Sus2: C - D - G

Add2/Add4 Chord This chord is just like a suspended chord in that it uses the second and fourth note. The difference is that, whereas in a suspended chord the third note is omitted, in an "Add2/Add4" chord, the third is kept.

Add4: C - E - F - G

Add2: C - D - E - G

title: Talk:Chords (music)


text:
Template:Tlx/doc

becomes →

 Purpose and naming:  Mnemonically 'Template list expanded'... named after 'Template list'

Usage

 * {{|template name}}
 * {{|template name|param}}
 * {{|template name|param&#61;value}}

 * This template takes a template-name and up to 128 optional number of associated parameters (or 'pass parameters'), and aggregates them into an 'example demonstration' of how the template might be used. It's primary use is in instruction and documentation such as this passage.
 * Additionally, tlx can be used to demonstrate templates on other sister projects.
 * If more than 128 associated parameters are given the remainder will be truncated to " ... ".

title: Template:Tlx/doc


text: User:Nima Baghaei

title: User:Nima Baghaei


text:
User:Mirwin/musical activities

I have joined the Wikiversity Distributed Jammin Band

I used to play:
 * flute
 * Whistling

I am currently trying to learn some music theory and begin with the following:
 * Electronic Keyboard
 * Guitar
 * Harmonica
 * Whistling
 * Accapela

I have done some
 * Foley Effects

I am interested in learning to mix
 * Modding

title: User:Mirwin/musical activities


text:
Talk:Audacity

Getting started
OK. I'm Getting started with sound recording using Audacity. I've uploaded a couple of files:
 * - for beginning Guitar/Lessons
 * - for Blues basics

I used mostly the default settings but checked the "Play other tracks while recording new one" box in the Audio I/O preferences. Audacity is fairly intuitive, once you get oriented. Let me know if you're out there making progress or having problems. --CQ 19:59, 14 February 2007 (UTC)

Audacity Wiki
CQ and Mirwin have joined the AudacityTeam Wiki:
 * CQ's userpage
 * Mirwin's userpage

We'll be cross-posting resources, findings, experiments and other resources here and there. Join the fun!. CQ 21:51, 17 March 2007 (UTC)

Sympathy for Audacity "Noobs"
I don't think you can underestimate the complexity of the average publicly developed application -- audacity being no exception. I hope that the development of this page can be "stupid simple" as possible, bringing the beginner (especially myself) very quickly to some reasonable if small success quickly, so as not to lose him in the complexity.--JohnBessatalk 15:49, 4 November 2009 (UTC)

title: Talk:Audacity


text:
Talk:Spanish/Spanish One/Assignments

I've started adding vocabulary and an assignment: to practice the vocab using flashcards on quisition.com. I'm not tied to quisition, so if any of you know of a better flashcard site, or if we could coordinate the salón de clase flashcards with the individual vocab lessons, we could link to that instead. It would be especially helpful to have flashcards with sound so that students could hear the correct pronunciation and practice it.Fturnertl 20:12, 12 February 2007 (UTC)
 * Ooh, that should be part of the Topic:Audio Engineering learning project! I'll tell them you are looking for sound samples.--Rayc 20:38, 12 February 2007 (UTC)
 * Thanks, Rayc. Also, I removed the link to quisition and will spend some time working on converting the Salon de Clase flashcards.

title: Talk:Spanish/Spanish One/Assignments


text:
Pre-school education

Pre-school education is usually for children aged between about 2-6, although it varies; in the UK, formal education typically begins at 4, in the U.S. typically at 5, and some countries, as late as 7.

Pre-school is also sometimes known as nursery school or day care. Early learning, by comparison, covers from birth to the end of preschool, and includes learning at home as well as externally provided education.

Pre-school education is followed by primary education.

Opposites

 * Left/Right
 * Before/After
 * Up/Down
 * Over/Under
 * Forwards/Backwards
 * Heavy/Light
 * Light/Dark
 * Long/Short

Social skills

 * Identifying emotions in others
 * Identifying emotions in self

Time

 * Analogue Clocks
 * Digital Clocks
 * Calendar
 * Seasons
 * Days of the week
 * Weekdays/Weekends

Skills

 * Tracing
 * Cutting
 * Taping
 * Gluing
 * Threading
 * Getting dressed
 * Pencil grip

Classification

 * Real/Fake
 * Alive/Not living
 * Has wheels/Doesn't have wheels
 * Floats/Sinks
 * Whole/Part

Language

 * Starts with (sound or letter)
 * Ends with (sound or letter)
 * Identify rhymes
 * Recite alphabet
 * Match uppercase with lowercase

Maths

 * 2D shapes
 * 3D shapes
 * Basic fractions: whole, half, quarter
 * Numbers 1-20
 * Count objects with one-to-one corrspondance
 * Sort by color
 * Basic measuring
 * Basic weighing
 * Simple addition/subtraction with small number objects
 * Sequencing

Activity ideas

 * Puzzles
 * Imaginary play
 * Painting
 * Coloring
 * Games
 * Outdoor exploration

Main article: Pre-school education/Activities

What do preschool children need?
We'd like them to learn through exploration, and also be able to collaborate, to learn co-operation and sharing. Older learners need more challenging activities.

Most importantly it needs to be fun and enjoyable learn through play!

They need rewards when they do things well (matching shapes to the names), and positive reinforcement when the get things wrong. (We're looking for the circle; try again.)

(also what do they want and what do they like?) They are young and need instant gratification no waiting they want a reaction right away! They love things that make sounds, noises, cause and effect, surprises, magic!

We do want to give our early learners the ability to explore and understand, but we have to make sure they aren't able to (physically) destroy parts, or hurt themselves. We should search for durable keyboards or expect them to be expendable.

Sleep is one thing they need.

Physical Activity is another.

What do preschool teachers need?
A child friendly computer.

For many teachers, they themselves will need computer training to be able to help facilitate any activities on the computer.

Good programs to enhance activities and themes that are being used in the classroom.

title: Pre-school education


text:
Help:Color schemes 3b

Here are color variations for Help:Color schemes 3

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:98%" Type of page (Lesson Summary, Lesson Page, Reference) in Lesson Topic : Narrative Film Production
 * colspan="2" style="width:100%; vertical-align:top; border:1px solid Sienna; background-color:Cornsilk;" |

Page title

 * Description (For a selection of additional icons, go to Help:Icons. For a list of available colors, go to Wikipedia's HTML Web Color Tables.)

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:98%" Title of two box section
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Heading Left

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Top heading on right
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Description on right
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{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:98%" Authors name (Your Name) or section heading
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Heading left

 * Description on left of three box section.

 * style="padding:0em 0.5em 0em 0.5em;" |

Top heading on right
 * style="width:40%; vertical-align:top; border:1px solid #abd5f5; background-color:#f1f5fc;" |

Description on right top
 * Title of top right section
 * Item
 * on right top
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 * style="padding:0em 0.5em 0em 0.5em;" |
 * style="padding:0em 0.5em 0em 0.5em;" |

Title on right bottom
 * style="width:40%; vertical-align:top; border:1px solid #abd5f5; background-color:#f1f5fc;" |

Description on bottom right
 * Title on bottom right
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{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:98%" Conclusion title
 * colspan="2" style="width:100%; vertical-align:top; border:1px solid Sienna; background-color:Cornsilk;" |

The next page

 * Continue this lesson on Next Lesson Description

Contact your instructor

 * Your instructor for this class is Your Name. To email me, you simply @undefined.  [[Image:Crystal Clear app xfmail.png|32px]]

 * }

title: Help:Color schemes 3b


text: Template:Cite web

title: Template:Cite web


text:
Template:Cite web/doc

Usage
For references with author credit

For references without author credit

 last last last2 editor-last editor-last editor2-last url, archive-date archive-url url url

 required required

Choosing between and
Before 2014, editors had to decide whether to use Cite web or based on their features. In 2014, however, the differences between the two templates were eliminated.

As of, and  have the following differences: But given the same set of valid parameters, their output is exactly the same:
 * can be used for offline (paper) sources whereas generates a missing URL error when no URL is provided
 * accepts issue and volume parameters while does not (See .)

TemplateData
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Not the name of the website.", "type": "string", "required": true },		"date": { "label": "Source date", "description": "Full date when the source was published; if unknown, use access-date instead; do not wikilink", "type": "date", "suggested": true },		"access-date": { "label": "URL access date", "description": "The full date when the original URL was accessed; do not wikilink", "type": "date", "aliases": [ "accessdate" ],			"suggested": true },		"website": { "label": "Website", "description": "Name of the website; may be wikilinked; will display in italics. Having both 'Publisher' and 'Website' is redundant in most cases", "type": "string", "aliases": [ "work" ],			"suggested": true, "example": "Rotten Tomatoes" },		"publisher": { "label": "Publisher", "description": "Name of the publisher; may be wikilinked. Having both 'Publisher' and 'Website' is redundant in most cases. 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Only one others parameter is allowed: e.g., 'Illustrated by Jane Doe; Translated by John Smith'", "type": "string" },		"year": { "label": "Year of publication", "description": "Year of the source being referenced; use 'date' instead, if month and day are also known", "type": "string" },		"orig-year": { "label": "Original year", "description": "Original year of publication; provide specifics", "type": "string", "aliases": [ "origyear" ]		},		"editor-last": { "label": "Editor last name", "description": "The surname of the editor; don't wikilink, use 'editor-link'; can suffix with a numeral to add additional editors.", "type": "line", "aliases": [ "editor1-last", "editor", "editors" ]		},		"editor-first": { "label": "Editor first name", "description": "Given or first name, middle names, or initials of the editor; don't wikilink, use 'editor-link'; can suffix with a numeral to add additional editors; alias of 'editor1-first'", "type": "line", "aliases": [ "editor1-first" ]		},		"editor-link": { "label": "Editor link", "description": "Title of existing Wikipedia article about the editor; can suffix with a numeral to add additional editors", "aliases": [ "editor1-link" ],			"type": "wiki-page-name" },		"series": { "label": "Series identifier", "description": "Series identifier when the source is part of a series, such as a book series or a journal", "type": "string" },		"location": { "label": "Location of publication", "description": "Geographical place of publication; usually not wikilinked; omit when the publication name includes place; alias of 'place'", "type": "string" },		"publication-place": { "label": "Place of publication", "description": "Publication place shows after title; if 'place' or 'location' are also given, they are displayed before the title prefixed with 'written at'", "type": "string" },		"publication-date": { "label": "Publication date", "description": "Date of publication when different from the date the work was written; do not wikilink", "type": "string" },		"page": { "label": "Page", "description": "Page in the source that supports the content; displays after 'p.'", "type": "string" },		"pages": { "label": "Pages", "description": "Pages in the source that support the content (not an indication of the number of pages in the source; displays after 'pp.'",			"type": "string"		},		"nopp": {			"label": "No pp",			"description": "Set to 'y' to suppress the 'p.' or 'pp.' display with 'page' or 'pages' when inappropriate (such as 'Front cover')",			"type": "string"		},		"at": {			"label": "At",			"description": "May be used instead of 'page' or 'pages' where a page number is inappropriate or insufficient",			"type": "string"		},		"language": {			"label": "Language",			"description": "The language in which the source is written, if not English; use the full language name; do not use icons or templates",			"type": "string"		},		"script-title": {			"label": "Script title",			"description": "For titles in languages that do not use a Latin-based alphabet (Arabic, Chinese, Cyrillic, Greek, Hebrew, Japanese, Korean, Vietnamese, etc). 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19 characters", "type": "string" },		"biorxiv": { "label": "biorXiv", "description": "biorXiv identifier; 6 digits", "type": "line" },		"citeseerx": { "label": "CiteSeerX", "description": "CiteSeerX identifier; found after the 'doi=' query parameter", "type": "line" },		"doi": { "label": "DOI", "description": "Digital Object Identifier; begins with '10.'", "type": "string" },		"doi-broken-date": { "label": "DOI broken date", "description": "The date that the DOI was determined to be broken", "type": "string" },		"isbn": { "label": "ISBN", "description": "International Standard Book Number; use the 13-digit ISBN where possible", "type": "string" },		"issn": { "label": "ISSN", "description": "International Standard Serial Number; 8 characters; may be split into two groups of four using a hyphen", "type": "string" },		"jfm": { "label": "jfm code", "description": "Jahrbuch über die Fortschritte der Mathematik classification code", "type": "string" },		"jstor": { "label": "JSTOR", "description": "JSTOR identifier", "type": "string" },		"lccn": { "label": "LCCN", "description": "Library of Congress Control Number", "type": "string" },		"mr": { "label": "MR", "description": "Mathematical Reviews identifier", "type": "string" },		"oclc": { "label": "OCLC", "description": "Online Computer Library Center number", "type": "string" },		"ol": { "label": "OL", "description": "Open Library identifier", "type": "string" },		"osti": { "label": "OSTI", "description": "Office of Scientific and Technical Information identifier", "type": "string" },		"pmc": { "label": "PMC", "description": "PubMed Center article number", "type": "string" },		"pmid": { "label": "PMID", "description": "PubMed Unique Identifier", "type": "string" },		"rfc": { "label": "RFC", "description": "Request for Comments number", "type": "string" },		"ssrn": { "label": "SSRN", "description": "Social Science Research Network", "type": "string" },		"zbl": { "label": "Zbl", "description": "Zentralblatt MATH journal identifier", "type": "string" },		"id": { "label": "id", "description": "A unique identifier used where none of the specialized ones are applicable", "type": "string" },		"archive-url": { "label": "Archive URL", "aliases": [ "archiveurl" ],			"description": "The URL of an archived copy of a web page, if or in case the URL becomes unavailable; requires 'archive-date'", "type": "string", "suggested": true },		"archive-date": { "label": "Archive date", "aliases": [ "archivedate" ],			"description": "Date when the original URL was archived; do not wikilink", "type": "string", "suggested": true },		"dead-url": { "label": "Dead URL", "aliases": [ "deadurl" ],			"description": "If set to 'no', the title display is adjusted; useful for when the URL is archived preemptively but still live", "type": "string", "suggested": true },		"quote": { "label": "Quote", "description": "Relevant text quoted from the source; displays last, enclosed in quotes; must include terminating punctuation", "type": "string" },		"ref": { "label": "Ref", "description": "An anchor identifier; can be made the target of wikilinks to full references; special value 'harv' generates an anchor suitable for the harv template", "type": "string" },		"separator": { "label": "Separator", "description": "The punctuation used to separate lists of authors, editors, etc.; a space must be encoded as   do not use an asterisk, colon, or hash mark", "type": "string", "default": "." },		"postscript": { "label": "Postscript", "description": "The closing punctuation for the citation; ignored if 'quote' is defined", "type": "string", "default": "." },		"layurl": { "label": "Lay URL", "description": "URL link to a non-technical summary or review of the source; alias of 'laysummary'", "type": "string" },		"laysource": { "label": "Lay source", "description": "Name of the source of the laysummary; displays in italics, preceded by an en dash", "type": "string" },		"laydate": { "label": "Lay date", "description": "Date of the summary; displays in parentheses", "type": "string" },		"author-mask": { "label": "Author mask", "description": "Replaces the name of the first author with em dashes or text; set to a numeric value 'n' to set the dash 'n' em spaces wide; set to a text value to display the text without a trailing author separator; for example, 'with' instead", "type": "string" },		"last3": { "label": "Last name 3", "description": "The surname of the third author; don't wikilink, use 'authorlink3'.", "type": "line", "aliases": [ "author3" ]		},		"first3": { "label": "First name 3", "type": "line", "description": "Given or first name, middle names, or initials of the third author; don't wikilink." },		"authorlink3": { "label": "Author link 3", "description": "Title of existing Wikipedia article about the third author.", "type": "wiki-page-name", "aliases": [ "author3-link" ]		},		"last4": { "label": "Last name 4", "description": "The surname of the fourth author; don't wikilink, use 'authorlink4'.", "type": "line", "aliases": [ "author4" ]		},		"first4": { "label": "First name 4", "type": "line", "description": "Given or first name, middle names, or initials of the fourth author; don't wikilink." },		"authorlink4": { "label": "Author link 4", "description": "Title of existing Wikipedia article about the fourth author.", "type": "wiki-page-name", "aliases": [ "author4-link" ]		},		"last5": { "label": "Last name 5", "description": "The surname of the fifth author; don't wikilink, use 'authorlink5'.", "type": "line", "aliases": [ "author5" ]		},		"first5": { "label": "First name 5", "type": "line", "description": "Given or first name, middle names, or initials of the fifth author; don't wikilink." },		"authorlink5": { "label": "Author link 5", "description": "Title of existing Wikipedia article about the fifth author.", "type": "wiki-page-name", "aliases": [ "author5-link" ]		},		"last6": { "label": "Last name 6", "description": "The surname of the sixth author; don't wikilink, use 'authorlink6'.", "type": "line", "aliases": [ "author6" ]		},		"first6": { "label": "First name 6", "description": "Given or first name, middle names, or initials of the sixth author; don't wikilink.", "type": "line", "aliases": [ "author6-link" ]		},		"authorlink6": { "label": "Author link 6", "description": "Title of existing Wikipedia article about the sixth author.", "type": "wiki-page-name" },		"last7": { "label": "Last name 7", "description": "The surname of the seventh author; don't wikilink, use 'authorlink7'.", "type": "line", "aliases": [ "author7" ]		},		"first7": { "label": "First name 7", "type": "line", "description": "Given or first name, middle names, or initials of the seventh author; don't wikilink." },		"authorlink7": { "label": "Author link 7", "description": "Title of existing Wikipedia article about the seventh author.", "type": "wiki-page-name", "aliases": [ "author7-link" ]		},		"last8": { "label": "Last name 8", "description": "The surname of the eighth author; don't wikilink, use 'authorlink8'.", "type": "line", "aliases": [ "author8" ]		},		"first8": { "label": "First name 8", "type": "line", "description": "Given or first name, middle names, or initials of the eighth author; don't wikilink." },		"authorlink8": { "label": "Author link 8", "description": "Title of existing Wikipedia article about the eighth author.", "type": "wiki-page-name", "aliases": [ "author8-link" ]		},		"last9": { "label": "Last name 9", "description": "The surname of the ninth author; don't wikilink, use 'authorlink9'. If nine authors are defined, then only eight will show and 'et al.' will show in place of the last author.", "type": "line", "aliases": [ "author9" ]		},		"first9": { "label": "First name 9", "type": "line", "description": "Given or first name, middle names, or initials of the ninth author; don't wikilink." },		"authorlink9": { "label": "Author link 9", "description": "Title of existing Wikipedia article about the ninth author.", "type": "wiki-page-name", "aliases": [ "author9-link" ]		},		"author-name-separator": { "label": "Author name separator", "description": "Changes the separator between last and first names; defaults to a comma and space; a space must be encoded as   do not use an asterisk, colon, or hash mark", "type": "string", "default": ", " },		"author-separator": { "label": "Author separator", "description": "Changes the separator between authors; defaults to a semicolon and space; a space must be encoded as   do not use an asterisk, colon, or hash mark", "type": "string", "default": "; " },		"display-authors": { "label": "Display authors", "description": "Number of authors to display before 'et al.' is used; default is to do so after 8 of 9 are listed.", "type": "number", "default": "8", "aliases": [ "displayauthors" ]		},		"lastauthoramp": { "label": "Last author ampersand", "description": "When set to any value, changes the separator between the last two names of the author list to 'space ampersand space'", "type": "string" },		"editor2-last": { "label": "Editor last name 2", "description": "The surname of the second editor; don't wikilink, use 'editor2-link'.", "aliases": [ "editor2" ],			"type": "line" },		"editor2-first": { "label": "Editor first name 2", "description": "Given or first name, middle names, or initials of the second editor; don't wikilink.", "type": "line" },		"editor3-last": { "label": "Editor last name 3", "description": "The surname of the third editor; don't wikilink, use 'editor3-link'.", "aliases": [ "editor3" ],			"type": "line" },		"editor3-first": { "label": "Editor first name 3", "description": "Given or first name, middle names, or initials of the third editor; don't wikilink.", "type": "line" },		"editor4-last": { "label": "Editor last name 4", "description": "The surname of the fourth editor; don't wikilink, use 'editor4-link'.", "aliases": [ "editor4" ],			"type": "line" },		"editor4-first": { "label": "Editor first name 4", "description": "Given or first name, middle names, or initials of the fourth editor; don't wikilink.", "type": "line" },		"editor5-last": { "label": "Editor last name 5", "description": "The surname of the fifth editor; don't wikilink, use 'editor5-link'.", "aliases": [ "editor5" ],			"type": "line" },		"editor5-first": { "label": "Editor first name 5", "description": "Given or first name, middle names, or initials of the fifth editor; don't wikilink.", "type": "line" },		"editor6-last": { "label": "Editor last name 6", "description": "The surname of the sixth editor; don't wikilink, use 'editor6-link'.", "aliases": [ "editor6" ],			"type": "line" },		"editor6-first": { "label": "Editor first name 6", "description": "Given or first name, middle names, or initials of the sixth editor; don't wikilink.", "type": "line" },		"editor7-last": { "label": "Editor last name 7", "description": "The surname of the seventh editor; don't wikilink, use 'editor7-link'.", "aliases": [ "editor7" ],			"type": "line" },		"editor7-first": { "label": "Editor first name 7", "description": "Given or first name, middle names, or initials of the seventh editor; don't wikilink.", "type": "line" },		"editor8-last": { "label": "Editor last name 8", "description": "The surname of the eighth editor; don't wikilink, use 'editor8-link'.", "aliases": [ "editor8" ],			"type": "line" },		"editor8-first": { "label": "Editor first name 8", "description": "Given or first name, middle names, or initials of the eighth editor; don't wikilink.", "type": "line" },		"editor9-last": { "label": "Editor last name 9", "description": "The surname of the ninth editor; don't wikilink, use 'editor9-link'.", "aliases": [ "editor9" ],			"type": "line" },		"editor9-first": { "label": "Editor first name 9", "description": "Given or first name, middle names, or initials of the ninth editor; don't wikilink.", "type": "line" },		"editor2-link": { "label": "Editor link 2", "description": "Title of existing Wikipedia article about the second editor.", "type": "wiki-page-name", "aliases": [ "editor2link", "editorlink2" ]		},		"editor3-link": { "label": "Editor link 3", "description": "Title of existing Wikipedia article about the third editor.", "type": "wiki-page-name", "aliases": [ "editor3link", "editorlink3" ]		},		"editor4-link": { "label": "Editor link 4", "description": "Title of existing Wikipedia article about the fourth editor.", "type": "wiki-page-name", "aliases": [ "editor4link", "editorlink4" ]		},		"editor5-link": { "label": "Editor link 5", "description": "Title of existing Wikipedia article about the fifth editor.", "type": "wiki-page-name", "aliases": [ "editor5link", "editorlink5" ]		},		"editor6-link": { "label": "Editor link 6", "description": "Title of existing Wikipedia article about the sixth editor.", "type": "wiki-page-name", "aliases": [ "editor6link", "editorlink6" ]		},		"editor7-link": { "label": "Editor link 7", "description": "Title of existing Wikipedia article about the seventh editor.", "type": "wiki-page-name", "aliases": [ "editor7link", "editorlink7" ]		},		"editor8-link": { "label": "Editor link 8", "description": "Title of existing Wikipedia article about the eighth editor.", "type": "wiki-page-name", "aliases": [ "editor8link", "editorlink8" ]		},		"editor9-link": { "label": "Editor link 9", "description": "Title of existing Wikipedia article about the ninth editor.", "type": "wiki-page-name", "aliases": [ "editor9link", "editorlink9" ]		},		"subscription": { "label": "Subscription required", "description": "When set to yes, displays “(subscription required)” to indicate an online source that requires subscription", "type": "string" },		"registration": { "label": "Registration required", "description": "When set to yes, displays “(registration required)” to indicate an online source that requires registration", "type": "string" },		"edition": { "label": "Edition", "type": "string", "description": "Specify the edition or revision of the source, when applicable. For example: '2nd' or '5.1'. What you supply here is suffixed by ' ed.'" },		"url-access": { "label": "URL access level", "description": "Classification of the access restrictions on the URL ('registration', 'subscription' or 'limited')", "type": "string" },		"bibcode-access": { "label": "Bibcode access level", "description": "If the full text is available from ADS via this Bibcode, type 'free'.", "type": "string" },		"doi-access": { "label": "DOI access level", "description": "If the full text is free to read via the DOI, type 'free'.", "type": "string" },		"hdl-access": { "label": "HDL access level", "description": "If the full text is free to read via the HDL, type 'free'.", "type": "string" },		"jstor-access": { "label": "Jstor access level", "description": "If the full text is free to read on Jstor, type 'free'.", "type": "string" },		"ol-access": { "label": "OpenLibrary access level", "description": "If the full text is free to read on OpenLibrary, type 'free'.", "type": "string" },		"osti-access": { "label": "OSTI access level", "description": "If the full text is free to read on OSTI, type 'free'.", "type": "string" },		"authors": { "label": "Authors list", "description": "List of authors as a free form list. 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GitHub, SourceForge, CodePlex, YouTube, Vimeo, Dailymotion and Netflix are examples of service dedicated to acting on behalf of the publisher, but Archive.org, Wikimedia Commons and grc.com have done this on certain occasions.", "example": "\"GitHub\", which hosts \"Visual Studio Code\" on behalf of \"Microsoft\"", "type": "string" }	},	"maps": { "proveit": { "main": "title", "textarea": [ "quote" ]		},		"citoid": { "title": "title", "url": "url", "subject": "title", "publicationTitle": "website", "blogTitle": "website", "forumTitle": "website", "seriesTitle": "website", "websiteTitle": "website", "publisher": "publisher", "date": "date", "PMCID": "pmc", "PMID": "pmid", "oclc": "oclc", "pages": "pages", "series": "series", "accessDate": "access-date", "DOI": "doi", "language": "language", "contributor": "others", "author": [ [					"first", "last" ],				[					"first2", "last2" ],				[					"first3", "last3" ],				[					"first4", "last4" ],				[					"first5", "last5" ],				[					"first6", "last6" ],				[					"first7", "last7" ],				[					"first8", "last8" ],				[					"first9", "last9" ]			],			"editor": [ [					"editor-first", "editor-last" ],				[					"editor2-first", "editor2-last" ],				[					"editor3-first", "editor3-last" ],				[					"editor4-first", "editor4-last" ],				[					"editor5-first", "editor5-last" ],				[					"editor6-first", "editor6-last" ],				[					"editor7-first", "editor7-last" ],				[					"editor8-first", "editor8-last" ],				[					"editor9-first", "editor9-last" ]			]		}	},	"paramOrder": [ "url", "title", "last", "first", "authorlink", "authors", "last2", "first2", "authorlink2", "date", "year", "editor-last", "editor-first", "editor-link", "editor2-last", "editor2-first", "editor2-link", "website", "series", "publisher", "location", "page", "pages", "at", "language", "script-title", "trans-title", "type", "format", "others", "orig-year", "publication-place", "publication-date", "via", "nopp", "arxiv", "asin", "asin-tld", "bibcode", "biorxiv", "citeseerx", "doi", "doi-broken-date", "isbn", "issn", "jfm", "jstor", "lccn", "mr", "oclc", "ol", "osti", "pmc", "pmid", "rfc", "ssrn", "zbl", "id", "url-access", "archive-url", "archive-date", "dead-url", "access-date", "quote", "ref", "postscript", "subscription", "registration", "separator", "layurl", "laysource", "laydate", "author-mask", "last3", "first3", "authorlink3", "last4", "first4", "authorlink4", "last5", "first5", "authorlink5", "last6", "first6", "authorlink6", "last7", "first7", "authorlink7", "last8", "first8", "authorlink8", "last9", "first9", "authorlink9", "author-name-separator", "author-separator", "display-authors", "lastauthoramp", "editor3-last", "editor3-first", "editor3-link", "editor4-last", "editor4-first", "editor4-link", "editor5-last", "editor5-first", "editor5-link", "editor6-last", "editor6-first", "editor6-link", "editor7-last", "editor7-first", "editor7-link", "editor8-last", "editor8-first", "editor8-link", "editor9-last", "editor9-first", "editor9-link", "edition", "bibcode-access", "doi-access", "hdl-access", "jstor-access", "ol-access", "osti-access" ],	"format": "inline" }

title: Template:Cite web/doc


text: File:Rounded corners CormaggioMain.jpg

title: File:Rounded corners CormaggioMain.jpg


text: File:Rounded corners CormaggioTalk.jpg

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Talk:Getting started with sound recording

An apparently excellent page to help newcomers to audio recording. My complements. I will be back to take it back if cannot actually get anything to work. lol (laugh out loud) Seriously I have learned quite a bit already from it. Mirwin 22:15, 12 February 2007 (UTC)

Breaking up and developing this page
The following is from an email correspondence between myself and Cormaggio, after I first added to the "Getting started with sound recording" page. Drake 01:08, 29 April 2008 (UTC)

[some comments snipped]

Perhaps, much of what I want to express is more correctly put into the "Audio Engineering" course. But the "Getting started in sound recording" is a good start.

The thing about audio is that it goes on and on. It morphs and folds into itself then expands. For example, compression is also a form of EQ which can be used as a form of compression. Reverb is also a form of EQ. Overdrive distortion is compression and eq which can, in turn, be used to make overdrive distortion when you don't have overdrive distortion effects. So, I suggest an outline that has:

 * specific practical instructions, very simple and very direct, click this, cable into that, etc. what "Getting started..." ought to include.
 * theory/explanations that are more general like the current "Getting started with sound recording" page including what I've begun to add.
 * from that, links to specific deeper theory for when a person needs to get more understanding - eg. --theory of sound for audio artists, theory of signal flow, theory of the DAW, theory of effects, etc.
 * specific pages for each topic, eg., specific effects, analog, consoles, digital consoles, DAW software each can have a whole page (plus links as needed) that has explanations and examples of how it's used or applied.
 * Recording, mixing, and mastering. Each are whole specialties in themselves.
 * then a reiteration of the initial specific practical instructions that are deeper including real world examples.

Lastly, links to music theory, musicianship, etc. since these all can have the most profound effect on a recording. The point is, most things can't just be "fixed in the mix" as you will see as you personally get further into the art of sound recording. However, like everything, the information ought not be overwhelming, just accessible as needed. This will inevitably lead to "styles" where one can take a "loop" that is well recorded and make a fantastic song with very little technical skill.

I don't know how to break things up, technically speaking, so I will need some help. I'm confronted with my own learning curve as to how to make the editing process work. I have the "editing" help page up and can access it quickly as I go along and get better. Perhaps we should create the pages each with their own outlines that can get flushed out as this expands. That's my understanding of wikiversity, anyway, making specific pages that can be edited without piling too many topics on a given section.

At any rate, I love audio, I am an audio engineer and I teach this stuff whenever I can. My goal is to make it easy to get to the level of information a user needs, not to glaze over eyeballs or put people to sleep. A lot of my experience in audio is getting to a specific piece of data in three inch think manuals right when I am in my "right brain" in the middle of creating, so I really grasp what it means to be confronted with too much information, yet wanting more information on a specific topic, and getting frustrated. This sound department at wikiversity needs that sort of ability to "drill" through to information as well as easily printed, single page explanations so the aspiring sound creator can have what he/she needs while going into the right brain of sound creation.

Audio, for me, is the perfect blend of left and right brain activity. On the one hand a songwriter "right brain's" a concept then has to go "left brain" to make it happen. Going "left brain" without totally killing the creativity is an art in itself. How we structure this "course" will have great effect on the ability of people to create music and enjoy the process. I find one can't know too much because audio is like a fractal. It's also like a hologram, every bit expresses the whole. Some of the best recordings I've heard were actually created by "newbie's" who knew nothing and just clicked around until they got something really cool. On the other hand, the very best recordings came from those with astounding knowlege applied as the muse required!

Hopefully this makes sense to you. Let me know how to proceed.

Thanx, Drake 01:08, 29 April 2008 (UTC)

Moving on
I suggest we develop an outline for the 'new' "Getting started with sound recording" page, then determine where to split the added information on the current "Getting started with sound recording" page and make pages for the major categories, eg,. Effects with the outline to include compression, reverb, delay, limiting, etc. (it's will be a long list in due time...).

Here are some notions for the 'new' "Getting started with sound recording" page, all one or two sentence explanations except where noted:

Getting started with sound recording
Brief Overview
 * What is sound? Sound defined.
 * What is a transducer? Why knowing this is important!
 * The human ear,
 * the microphone, and
 * the speaker.

 * Overview of Computers and Sound recording, the DAW. One or two paragraphs

NEW PAGE - The Setup to record something
Each would have a brief expanation with a link to a new page for in depth discussion. Equipment
 * Mics,
 * computers,
 * software, other instruments and
 * how the get sound into the computer,
 * hardware audio interface
 * analog audio interface, or console
 * computer sound card
 * Tape recorders, similar concept just different buttons to push. One paragraph.

NEW PAGE
Steps in recording sound
 * digital vs analog, which one? why? Two or three paragraphs.

Steps in digital recording - just a list. Steps in analog recording - just a list with an explanation at the beginning and end.

NEW PAGE - Audio Signal Processing
Audio Signal Processing
 * Dynamics processing
 * Effects
 * EQ

-

What did I leave out? I took the original outline and used most of it's entries to build the one I made, above.

I suggest putting up the outline structure then filling it in to see how the explanations follow. Sometimes one's understanding or need to know will determine the order of the explanations. When working with someone in person, I look at what they have and are already doing and then go from there. That said, I hope the pages are easy to navigate through. Initially the explanations need to be easy short reads with specific information.

Lastly, I suggest adding a "Try this" example here and there. A project really helps the understanding.

Again soon, I'm sure! -Drake! Drake 01:08, 29 April 2008 (UTC)

Comments on structure
Thanks very much for all your comments and suggestions, Drake. I think the structure you propose is good - I think there's a danger of putting too much information on one page, which can both dilute the absolutely essential-for-now (ie "getting started") information, and make the subject seem too complex, and hence be off-putting. So breaking up the page sounds good. If this page is really targeted at a complete newbie (which I always intended in choosing this name), then the steps you outline sound good too. And I totally agree with breaking off into pages on specific theories and technologies - I see this as being able to 'zoom' in and out of information - as general or as specific as the user needs. There's no limit to the detail we can go into - there's just a practical limit to what should go on one page. And so if you'd like to reframe this whole area as simply Sound recording (or see also Topic:Audio Engineering) - and not simply an introduction for newbies - then that's fine. Also, as well as writing materials, it might be interesting to explore other, perhaps more collaborative ways of learning and teaching sound recording - I'm open to suggestions! Cormaggio talk 06:38, 4 May 2008 (UTC)


text:
Talk:Blues basics

Question of Clarity
What do these symbols represent? Roman Letters? I IV I IV I V IV I  I understand the letter sequence of notes E, A, E, A, E, B, A, E.    So is it a cycling pattern sequence of 1, 4, 1, 4, 1, 5, 4, 1 where 1 is E then up three notes a,b,c,d,e,f,g,a so Chord C is 3=C, 4+3=7=G, C, G, C, 5+3=8=A, G, C  so a C Chord is  C,G,C,G,C,A,G,C? Mirwin 22:58, 12 February 2007 (UTC)

 * The Roman numerals represent chord progressions. They are the degrees of the diatonic scale. I is a chord built based on the tonic of a given scale. Similarly, IV represents a subdominant chord. You can use these numbers like this:

 * For example, suppose your key signature is D major. The notes would be
 * D - tonic (I)
 * E - supertonic (II)
 * F# - mediant (III)
 * G - subdominant (IV)
 * A - dominant (V)
 * B - submediant (VI)
 * C# - leading note (VII)
 * D - tonic (I)

 * A simple I chord (or "tonic chord") could consist of the notes D, F# and A. Note that these are made up of the 1st, 3rd, and 5th (I, III, V) degrees of the scale. Similarly, the IV chord would be made of the 4, 6, 8th notes of the scale, which would be G, B and D. Well...the 8th note is really the first note...but this makes it simple to explain.

 * To play the same chord progressions in C major, I would be the C chord, IV would be the F chord, V would be the G chord. To figure these out, you can count like this:

 * C - (I)
 * D - (II)
 * E - (III)
 * F - (IV)
 * G - (V)
 * A - (VI)
 * B - (VII)
 * C - (I)

 * My suggestion for figuring out the chords is first to identify the notes in the scale, and the count from the tonic note in order to determine which notes are part of the chord. Hope this helps! --HappyCamper 03:30, 14 February 2007 (UTC)

 * Actually, I should mention that the first chord being E is significant: the lowest note on the guitar is an E. Not only this, it is also an open note, so it resonates quite well, and helps to bring out the blues. --HappyCamper 23:55, 14 February 2007 (UTC)

Audio resources
I started recording some Blues basics using Audacity, a guitar (Ibanez acoustic), a tamborine and finally a software drum machine. I emulated a base by playing the bass line on guitar and halving the frequency using Audacity's "pitch" control. I started out with a very "standard" 12-bar arrangment:
 * - I talk out the chords, E, A, and B7 while my "sidekick" reiterates for clarity. We do one round.
 * - I started this by making a stereo drum track (pain in the neck) with Hydrogen and export/import into Audacity. Then put in the bass, a light rythem, heavy rythem, and a very loose lead - all on the Ibanez. Finally I add a tamborine with an "air mix" to give a live raucus sound.

These were quite a bit of work but I "learned by doing" and it was exciting and fun. I hope you like them and look forward to making some collaborative pieces. Maybe I can make some other tracks with just a couple of tracks and someone else can add parts. Let me know how ya'll would like to move forward. --CQ 08:20, 15 February 2007 (UTC)

 * Very nice clips :-) Let me comment on the second recording first. The guitar part sounds improvised...some things:
 * You seem to have a very intuitive feel for how 7th chords relate to each other
 * Measured use of chromaticism...tastefully done :-)
 * The one triplet inserted in there was quite creative
 * Pitchwise, it's slightly too loose for my taste, but it's relaxed
 * The first bar is quite nice...the repeated Es in the base announce "here I am! listen to me!!"
 * The guitar line can be brought out a little more - the bass is a little overpowering
 * The last chord has a very nostalgic feel to it, which I like.
 * I've got a little challenge for you...see if you can use more C#, G#, F# and Fs in the guitar part. I picked these notes because they don't show up quite as often as the others. Also, try, make the baseline more interesting by experimenting with chord inversions. That's all for now. --HappyCamper 23:05, 15 February 2007 (UTC)

 * I liked these clips a lot - but am slightly in awe of HappyCamper's musical ear! I just thought they were "kinda cool" :-) Cormaggio beep 23:48, 15 February 2007 (UTC)

 * I can't wait to listen to CQ's next set of music clips!! --HappyCamper 19:04, 19 February 2007 (UTC)

Wishlist
We need an easy way of sharing musical scores here...ideas anyone? --HappyCamper 23:14, 15 February 2007 (UTC)

 * Interesting - are you talking here about existing musical scores, or a way of writing out notation for others to play around with? If the latter, it can be done - see Music markup. If the former, they of course need to be outside of copyright - see eg. Project Gutenberg's sheet music project. Cormaggio beep 23:48, 15 February 2007 (UTC)
 * Music markup is what I'm looking for!! But it doesn't seem to work here though. Do we just do this on our computers locally, and then upload the images here? --HappyCamper 00:14, 16 February 2007 (UTC)
 * That's strange - but it seems to be based on TeX, which I seem to recall others having trouble with here on Wikiversity. I'll ask around.. Cormaggio beep 01:03, 16 February 2007 (UTC)
 * JWSchmidt has demoed pretty scoring capability but I think it with Mac. I we have someone with Mac willing with propor software, we could scan handscored music blank paper to them,  they can probably post blank sheet we can print and annotate, if we work neatly enough the scanned image will be useable just obviously scanned handwork.  71.161.8.137 09:41, 16 February 2007 (UTC)

title: Talk:Blues basics


text:
Wikiversity talk:Sonic user interface

Very nice initial vision statement. It grabbed me. I have joined a music project and the audio engineering group. Mirwin 23:10, 12 February 2007 (UTC)

Is any of this possible/doable through tools we've already been playing with? Listening shouldn't be a problem, for sure. Historybuff 05:59, 16 March 2007 (UTC)

Introduction sounds
I am at the point of wanting to put sound and video on the Wikiversity main page (see Main Page/Draft version 0.2). I support the long-term goal of seemlessly integrating audio and video into Wikiversity. Maybe we could start with some thought about how to standardize the insertion of audio and video into Wikiversity. Is a good place to start towards standardization by making some templates like the one at w:Wikipedia:Song/The RfA Candidate's Song? --JWSchmidt 17:01, 9 May 2007 (UTC)

Wikiradio
WikiRadio has evolved from proposal to javascript tool Wikiradio. A real-time audio service offers various Category:WikiRadio stations, covering all genres of music and even including recordings of Wikipedia articles in different languages, all of which are available on Wikimedia Commons. Each sound is chosen by the community to be highlighted as some of the finest work on Wikipedia and the Wikimedia Commons. I shall be adding this update to the WCR project soon. CQ (discuss • contribs) 00:12, 20 March 2016 (UTC)
 * Wikimedia Foundation Labs - wikiradio
 * GitHub code emijrp/wikiradio

title: Wikiversity talk:Sonic user interface


text:
Talk:Pre-school education

To get xjig working for me was a bit of a pain. I wrote this helper script:

And even so, it does an imperfect job. I really want to take any image source and convert it (especially png).

But the user interface is no good for kids. Kids ought to be able to pick any image using a file browser and convert it. I fiddled with GNOME+Metacity+Nautilus for a few minutes and was unable to determine how ...

Ben Armstrong 23:12, 12 February 2007 (UTC)

Interesting! If this takes off it will please me that Wikiversity has something for kids receiving a computer under the One Laptop Per Child program. I have seen some learning games aimed at preschoolers but I do not remember what licensing they were under. As I have time and inclination I will attempt to find links for you to evaluate. Mirwin 20:56, 20 February 2007 (UTC)

Should preschoolers even be on the computer? If not, I don't know how we could be of any help to them.--Rayc 20:15, 5 March 2007 (UTC)

 * Is this a kinda moralistic "should" question, Rayc? Because I think that, if it is, then it is pretty redundant. More and more kids are growing up with computers as a reality - and I think this is all to the good. I think we obviously should be trying to help kids become as literate in computers as possible - meaning that they understand the computer's benefits as well as its dangers - and that they are able to use them towards creative and educational ends. Cormaggio beep 18:49, 6 March 2007 (UTC)
 * I thought I remembered a study that said computers shouldn't be used until kids are in school, though it might of been talking about TV. Looks like the experts think positively on this: .  I actually taught preschoolers for one semester, and I just remember that they used a computer for about a half hour at a time once through the week.  As for a program suggestion, "Geography and maps" seems like a nice idea.  Could we suggest taking a screen shot of google maps satellite photos? Those really help me as a visual learner.--Rayc 05:35, 15 March 2007 (UTC)

Possible carpentry solutions
How about shifting some computer use time from the present-day 99% entrenched sit-up use position to lyin' down? That way toddlers can get the benefits of additional study, reading, adventure on their down-time, so to speak, reserving uptime for running around instead of sitting at a desk (this has implications for the obesity problem).

The simplest way is to have supports on either side at a desired height-- 18-30"?-- above bed (or pillow) level. Two boards stretch across above eye-location, with a plexiglas panel-- could be 12 x 18"-- between them. On this panel can lie a book, a magazine, or a computer monitor looking down at you. The mousepad etc. is on your tummy.

"Slabtop"
Imagine a laptop computer lying flat looking down at you, but the keyboard hangs down toward your belly where your hands get to it easily. Extra boards and wiring can be built in to hold the keyboard in place, and the structure made as strong as necessary. For when you are reading books instead of viewing the monitor, there would be two little reflector lamps fastened down on either side of your head, beaming up 45° toward the paper area (none of the light reflects down into your eyes).

Viewing duo with toddler
Now imagine at the start, you are lying face up, your toddler right under your chin lying on top of you, the location of the screen adjusted so both have no trouble seeing it, and your hand is over the toddler's hand on the mouse, teaching the clickfunctions. (Wanna bet how soon, counting days fromn birth, the toddler is on to how to do it alone, clickmouse included, even a few keyboardkey sequences?)

Because no exercise uptime is usurped by non-exercise occupations, I don't see any particular problem with how many hours a day a toddler spends doing this, instead of just lying in the crib counting pretty dots on the ceiling which is what they let me do in the 40's.

Eco-Toys (Essential Preschool Part I)
As for what toddlers can do on their uptime, please check the above-cited descriptions of music and outdoor action toys made in any neighborhood from trimmed, sanded scrap lumber etc. (and an 8" kickball made out of you don't want to know what). Now imagine a child experienced with action toys lying at the computer viewing diagrams or videos (and descriptions which dadmom can read aloud with a pointfinger moving) of the selfsame action toys and their use (including that awful zooky music).Treedesigner 17:20, 7 March 2008 (UTC)

August 2007 Update
We've got a bunch of ideas floating around, which is fantastic. I've been in contact with a Touchscreen provider, so we might actually get a loaner while we develop our proposal. Exciting stuff.

 * I'm hoping to tie this all together -- we have a bunch of off wiki stuff happening, lots of calls and talks, and there should be some on-wiki editing going on to flesh this out. Wiki outreach at it's best. Historybuff 04:27, 9 August 2007 (UTC)

The off wiki stuff took far longer then I had hoped, but it looks like with the new year we are finally going forward. I've got a version of the latest debian installed and I hope to start poking with applications in the next couple of days. Historybuff 23:30, 4 January 2008 (UTC)

 * We now have all of the paperwork done to get a demo computer to test the waters. I haven't gotten much feedback from application people, and we'll need a couple devs to help out in some capacity at some point. Historybuff 04:09, 1 February 2008 (UTC)

Topic or Portal?
Should this be a Topic or a Portal? Donek (talk) - Go raibh mile maith agaibh 01:44, 1 July 2008 (UTC)
 * For now, this is probably best as a topic or moved to the mainspace, since there is already Portal:Pre-school Education. -- Jtneill - Talk - c 02:06, 1 July 2008 (UTC)

title: Talk:Pre-school education


text: File:Rounded corners FrenchBasics.jpg

title: File:Rounded corners FrenchBasics.jpg


text:
Talk:Dot-matrix methods

The name suggests some kind of mathematical or comp.sci. topic to me, which evidently is not. I would categorize it myself but, heck, I don't know properly where. --Jorge 00:28, 13 February 2007 (UTC)
 * It's a "Life Sciences" general topic, and a "Bioinformatics" subject to be more precise, does this help ? XApple 11:58, 13 February 2007 (UTC)
 * Oh yes, although I know from my education in comp. sci. that bioinformatics spans more than DNA-related computations. What can this be called, inside bioinformatics, DNA sequencing perhaps? --Jorge 00:47, 17 February 2007 (UTC)
 * No, that would be more of a chemical process. This would reside inside the field of sequence alignment techniques. XApple 20:42, 26 April 2007 (UTC)

title: Talk:Dot-matrix methods


text:
Talk:Microeconomics

I can understand, although I see no reason for it, the "Ec" prefix of the lessons... But "1101"??? --Jorge 00:36, 13 February 2007 (UTC)

Local Politics
Some of us are trying to get some Wikiversity factions started and active in the Wikimedia Foundation's elections processes so we can influence the Board of Trustees and Foundation employees and management that our economic needs (hardware and software; capacity, upgrades, and experimental mods) are reasonable and necessary to adequately develop Wikiversity to help meet the Foundation's vision and goals of making human knowledge freely available to all people. Anyone interested in starting or participating in a political learning project to help influence the rest of the Wikimedia Communities please do so or contact me with your ideas and thoughts on this subject. Thanks! Mirwin 21:33, 14 December 2007 (UTC)

Why is Talk Page comment is on the content page??
Do we still need to keep that up for some type of warning??? [anonymous]
 * Moved to talk page --McCormack 08:12, 4 June 2008 (UTC)

I hope to update this more, but I'm going to have to do it in parts, so if you could leave this up and not delete it based on lack of information. Also, I would much appreciate formatting help, as I'm a new user, and am learning how to do this as I go.
 * Excellent! Expanding stubs are very welcome! Mirwin 21:28, 14 December 2007 (UTC)

title: Talk:Microeconomics


text:
Dirac's notation

Dirac's, or bra-ket, notation

Kets' notation
A ket is just another way to write a column vector. If you have a vector called $$v$$, you can write it as $$\vec{v}$$, as [ vi ], or as $$|v \rangle$$;. This last one is called a ket.

If you transpose a column vector you obtain a row vector. Dirac's way to write row vectors are Bras: $$\langle v|$$. Bra and ket are just a pun for bracket.

Operations
Just as you can right-multiply any matrix by a column vector, you can do it by a ket (since it's another way to write it). As is usual in vectorial algebra, you omit the matrix-multiplication sign (x) and just juxtapose the two factors. So multiplying matrix A by ket v is written: $$A|v \rangle$$;.

The same goes for left-multiplying and bras. Multiplying bra u by matrix B is written: $$\langle u|B$$.

"A bilinear form" is the name given to a matrix intended to be multiplied on both sides by vectors (by a row vector on the left and a column vector on the right). In bra-ket notation, that multiplication is written this way: $$\langle u|A|v \rangle$$.

As the inner product of two vectors is the same as the matrix product of the first vector, transposed, by the second one, we can treat vectors as row or column matrices:

So the inner product of two vectors is a bilinear form whose matrix is the identity matrix. The identity matrix is, of course, never written, and the inner product of u and v is then written as utv or, in bra-ket notation, $$\langle u|v \rangle$$ (note you only write a "|").

Functions as vectors
Functions of one variable can be seen, mathematically, as "infinite" vectors. The analogy is easier to see the other way: vectors can be treated as functions.

If we have, for example, a 5-dimensional vector, v = [ vi ], such that i ranges from 1 to 5, we can write without trouble a function w(j) such that j is a discrete variable which can be 1, 2, 3, 4 or 5, and such that w(j) = vj.

Treating a function over the Reals (say, f(x)) as a vector requires us to accept x € R as an index (as was previously i € {1, 2, 3, 4, 5}). So now, instead of having a vector of dimension 5, we have a vector of infinite dimensions (as the possible values of x are infinite).

Perhaps it is easier to imagine x as belonging only to the Integers, and ranging from -oo to oo.

Vectorial algebra is the same
The dot (or inner) product of two vectors consists on multiplying them coordinate-by-coordinate and then adding up all the products. If your vectors are of continuous dimension (as functions over the Reals), you have to substitute summation by integration.

Two-variable functions can be thougth of as matrices (of infinite and/or continuous dimension if needed).

Matrix-multiplicating a two-variable function (a matrix) by a one-variable function (a vector) is done this way: You give the same name to the index of the vector and the column index of the matrix. You multiply (normally) both functions. And finally you integrate over the common index. The result will be a function of the matrix's row index (and so, a vector, as expected).

title: Dirac's notation


text:
User:JWSchmidt/Blog/13 February 2007

Review Board  User:Xenon previously started a Review Board page at the Wikiversity multi-lingual hub. Today I did some editing of the material started by Xenon. A major remaining task is to edit the Scope of Research page. I would like to provide examples of the types of research activity that have been started here in the English Language Wikiversity during the past six months.

Hopefully the Scope of Research page can be positive in its tone, rather than concerned with types of research that are not wanted. It will probably be useful to link to Portal:Research from the policy page, but I need to take the time to also link to specific research projects that provide good examples.

It would be nice if we could spread the word to the Wikiversity websites in other languages (German, Spanish, French) and get some input from them on the research policies.

The big issue that is being put off for the future is formal peer review of "wiki format publications". Hopefully people such as User:Wvogeler will help get the first "wiki journal" going for Wikiversity. An astronomy journal would fit well with the many astronomy projects started by User:Mu301 in the Observational astronomy area. Wiki Scholar might attract more participants from a wider base.

Xenon started Referees. I have to remember to get back to that after the Beta policies are in line.

title: User:JWSchmidt/Blog/13 February 2007


text: File:Functions as vectors.PNG

title: File:Functions as vectors.PNG


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title: File:NORgate.jpg


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Talk:Dirac's notation

I'm going to bed now; I'll continue tomorrow. Please anybody correct my spelling, grammar, drawings, etc. And make the thing more pedagogical. Well, you all knew that, as this is a wiki.

This lesson, module, or how you want to call it comes from this conversation. Maybe the name isn't appropiate... --Jorge 02:18, 13 February 2007 (UTC)

All my ugly notation must be changed by using this: $$\langle \psi \vert \hat{x} \vert \psi \rangle$$. Same for infinity, etc. --Jorge 02:45, 13 February 2007 (UTC)

title: Talk:Dirac's notation


text:
Guitar/Lessons

This is the Wikiversity Guitar Lessons unit - part of the Basic Blues & Rock project.

Tuning your guitar
This section has a companion file,  that demonstrates the tuning technique described below.

EADGBE tuning is the "standard" tuning for your basic six-string guitar. We shall start by tuning our A string to A440. (A is the second-thickest string on your guitar.) If you look at the whole string and divide in it half, you will find what is called a harmonic. To play this harmonic, lay your finger lightly on the string at its midpoint (12th fret) and pluck. You can use a pick if you like. Whatever suits you best. You will need a reference or tuning note set to 440 Hz. (440 cycles per second). The harmonic at the midpoint of your A string should vibrate at exactly 220 Hertz (close enough for boogie). If you hear an irritating "wobble", you are either flat (too low) or sharp (too high). Turn the tuning key or peg slowly until the wobble smooths out. If you don't hear a wobble, turn the key to detune the string enough to hear it and pull it back up till its gone. If you still can't hear this phenomenon, you may be tone-deaf and should probably buy an electronic tuner.

You can use for a reference. Alternatively, Audacity generates a nice tone at any frequency you want... Just use Generate > Tone and set it to 440. Or you can buy a tuning fork at your local music store.

Harmonics and string length division
Guitar harmonics are found at even divisions of the string length. The strongest are found on the twelfth fret usually marked by two dots either on the fretboard itself, the edge of the neck facing you, or both. This is the midpoint of the string. Each half of the string supports the other half in sustaining the harmonic tone. This is called the "first overtone" of your fundemental A note, which when played open (no touching of the string) emits a frequency of 110 Hz.. Dividing the string in half doubles the frequency to 220. Dividing the string into quarters produces 440 Hertz and can be found at the fifth fret and again up near the sound hole (or near the pickups on an electric) toward the bridge. This is the "second overtone" and is, like the first one an even harmonic.

It so happens that dividing the A string into three equal parts at the seventh fret produces the same overtone that dividing the E string into four parts does. Hence plucking the fifth fret on the E string allows you to pull it into tune with the seventh fret on the A string you are using as a reference. This is the basis for harmonic tuning.

Some basic patterns
The fifth, seventh and twelfth frets are important positions on the neck of your guitar. Not only are they important in tuning your guitar with itself, they are also useful for learning scales and chords. To continue tuning the guitar, the same pattern we used to tune the E and A strings can be used to tune the D string to the A, then the G string to the D. Just remember that an overtone (or harmonic) produced by lightly touching the fifth fret on one string matches the harmonic produced by lightly touching the seventh fret on the next string up. ("up" in our case refers to pitch; not a physical direction)

That pattern works until you get to the B string (the second thinnest string). For this string you drop back down to the seventh fret of the (low) E string and play the B string open. It should be the same tone. Now hit the harmonic at the seventh fret of the A string (our reference string) and play the high E string open. Again these two tones should match. Now you can try the fifth/seventh pattern to check that the B and high E are still together (the high E is the thinnest string - low E is the thickest). The basic patterns and harmonic overtones you are using to tune your guitar will help you when learning to play it... And nobody will want to play with you if you are out of tune!

Chord Patterns
guitar scheme

Chord patterns can be visualized by guitar scheme, which are either tabs or schemes.

Following picture has example of am - chord tabulature on the third row from the top.

Following picture has example of $$B^o$$ - chord scheme on the top.

Two frets up on the next string
choosing your 1st guitar

title: Guitar/Lessons


text: User talk:AndyDK

title: User talk:AndyDK


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title: File:Emailchallenge.jpg