text:
Peak Oil: High Tide for an Oil Addicted World/Introduction

The purpose of this book is to provide a simple but comprehensive overview of the phenomenon known as ‘peak oil’. There are many books and other resources we recommend that cover peak oil and all its associated topics in detail, but we wanted to create an introduction for those who are new to the topic. We hope that what follows succeeds in being an overview, giving sufficient detail of most aspects of peak oil to be a firm grounding in the topic while encouraging deeper reading, but given in basic, layman's terms so that everyone can understand the situation at the high-tide of the hydrocarbon age.

What this means is that we will look at:

 * what oil is, where it comes from, and what we do with it;
 * what peak oil is;
 * why people are confident that we are at, or nearly at the Peak;
 * what the consequences of peak oil are likely to be for you, your family, society, and the world;
 * what solutions there might be, including possible alternatives to oil; and
 * what actions need to be taken now to mitigate the likely problems peak oil.

During the years we have been looking at this topic we have come across many questions that people ask, often in the hope that what peak oil entails isn’t actually true, so we have modeled this book on a gigantic FAQ, posing questions and answering each in turn.

A quick note about the people behind this book. We come from a variety of backgrounds united with one concern – the peak and decline of oil is the most imminent challenge modern society faces with the most incredibly serious potential consequences. To tackle this problem we need full awareness, debate and immediate action. No part of our society is immune from the decline of oil. This book is part of that awareness raising process.


text:
Saylor.org's Cell Biology/Introduction

Dear Wikibookians,

No doubt some of you are familiar with the free college courses available on Saylor.org. Much like the Wikimedia community, we are committed to providing free and accessible education for everyone with internet access. At Saylor, we combine some of our custom-created educational materials with materials that are already available throughout the internet. However, because we sometimes use links to third party materials, those sections of our courses are not entirely sustainable. The Saylor Wikibooks Project is a way for you to help minimize that threat. We’ve uploaded a number of our course outlines to Wikibooks in the hope that you all will contribute to our effort. Our course outlines have been developed by our consultant professors by studying a collection of syllabi of relevant courses from various traditional brick and mortar institutions. This guarantees that our students will be provided the same learning opportunity as a student enrolled in a traditional institution. We believe that we have created the best structure for our courses, which optimizes the information that students would be expected to know. By creating openly licensed content that fits in with Saylor’s established course outlines, (in the form of Wikibooks’ textbooks), you can add to the ever-expanding body of wiki material, while simultaneously improving the sustainability of our courses.

Thanks for your help,

The Saylor Team

If you'd like to learn more about the project please visit User:Thomas_Simpson

 Summary

The cell is the fundamental unit of life; in fact, the smallest living organisms are composed of a single cell. Despite their small size, cells are far from simple, and we have only recently begun to understand just how complex they are. This text will present you with a detailed overview of a cell’s main components and functions. The text is roughly organized into four major areas: the cell membrane, cell nucleus, cell cycle, and cell interior. We will approach most of these topics straightforwardly, from a molecular and structural point of view.

 Global Learning Outcomes

 * Explain what a eukaryotic cell is, identify the components of the cell, and describe how a cell functions.
 * Explain how cell membranes are formed.
 * Identify the general mechanisms of transport across cell membranes.
 * List the different ways in which cells communicate with one another—specifically, via signaling pathways.
 * Define what the extracellular matrix is composed of in different cells and how the extracellular matrix is involved in forming structures in specific tissues.
 * List the components of the cell’s cytoskeleton and explain how the cytoskeleton is formed and how it directs cell movements.
 * Explain the fundamentals of gene expression and describe how gene expression is regulated at the protein level.
 * Define and explain the major cellular events involved in mitosis and cytokinesis.
 * Identify the major cellular events that occur during meiosis.
 * Describe the eukaryotic cell cycle and identify the events that need to occur during each phase of the cell cycle.
 * Identify all of the major organelles in eukaryotic cells and their respective major functions.

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

title: Saylor.org's Cell Biology/Introduction


text:
Unsolved Problems in Biology/Introduction

This biology textbook originated in Wikipedia with the article Unsolved problems in biology (started 08:56, 27 Jun 2003 . . Ike9898).

The endless frontier
No matter how much we know about living organisms, there is always more to learn. This book is dedicated to the idea that asking questions is important. We welcome contributions of new questions about biology on the Grist page. Answers to all questions about biology can start with what is already known and then move on to what remains to be discovered, what remains unsolved. The goal of this textbook is to serve as an unorthodox introduction to biology. Each chapter starts with a question, maybe the sort of question a small child would ask, and explores the implications of that question out to the limits of the current state of research and then moves on into speculation about what might be discovered in the future.

What is life? The first chapter is called "What is life?" It starts with some of the history of biology and gives a version of the "textbook answer" that might typically be found in an introductory biology textbook. Related questions are then investigated in an attempt to explore the boundaries of the physical domain we call "life". Why is life on Earth made out of certain atoms such as carbon and oxygen? Are there life forms in the universe that are not based on carbon? Is there a clear boundary between carbon-based life and Artificial life? Does the concept of a non-physical thinking being make any sense or is life always instantiated in matter? The chapter concludes with a discussion of the idea that life is the means by which the universe comes to know itself.

Some Unsolved Problems in Biology
How did biological organisms start? Are the conditions necessary for the origin of life narrow or broad? How are the sizes of cells, organs, and bodies controlled? Did life start on this planet or was there an extraterrestrial intervention (for example a meteor from another planet) ? Why have so many biological systems independently developed sexual reproduction? What constitutes a species?


text:
Plant Sciences/Resources

Online resources
Mainly Plant Molecular Biology and Development

Plant Physiology Online (2002)
This site is a good general introduction to learn about plant biology. ''There is an edited version of the Plant Physiology book which is far more developed, with very nice figures to illustrate the science. If you are seriously interested in plant biology, it is strongly recommended that you get it from a library or buy it.''

http://4e.plantphys.net/

a companion to Plant Physiology, Third Edition by Lincoln Taiz and Eduardo Zeiger, published by Sinauer Associates.

ABOUT THE SITE

This site provides a wealth of additional material to accompany the textbook. Much of the content is referenced in the textbook (as well as listed at the end of each chapter), but the site is a continuously growing resource, so check back regularly to see what new material has been added.

There are four main categories of content on the site:

1. Web Topics: This is material that adds to the coverage in the textbook. Topics include text, figures, and tables, and are referenced throughout textbook (and also listed at the end of each chapter).

2. Web Essays: These are original articles on various topics related to each chapter, written by experts in the field.

3. Study Questions: These short answer-style questions are designed to help you learn the key concepts covered in each chapter, and apply them to problems.

4. Readings: Suggested readings for further study. http://4e.plantphys.net/categories.php?t=t

Topics covered :

 * 1. Plant Cells
 * 2. Energy and Enzymes
 * 3. Water and Plant Cells
 * 4. Water Balance of Plants
 * 5. Mineral Nutrition
 * 6. Solute Transport
 * 7. Photosynthesis: The Light Reactions
 * 8. Photosynthesis: Carbon Reactions
 * 9. Photosynthesis: Physiological and Ecological Considerations
 * 10. Translocation in the Phloem
 * 11. Respiration and Lipid Metabolism
 * 12. Assimilation of Mineral Nutrients
 * 13. Secondary Metabolites and Plant Defense
 * 14. Gene Expression and Signal Transduction
 * 15. Cell Walls: Structure, Biogenesis and Expansion
 * 16. Growth and Development
 * 17. Phytochrome and Light Control of Plant Development
 * 18. Blue-Light Responses: Stomatal Movements and Morphogenesis
 * 19. Auxin: The Growth Hormone
 * 20. Gibberellins: Regulators of Plant Height
 * 21. Cytokinins: Regulators of Cell Division
 * 22. Ethylene: The Gaseous Hormone
 * 23. Abscisic Acid: A Seed Maturation and Anti-Stress Signal
 * 24. The Control of Flowering
 * 25. Stress Physiology

To get access to the above topics : http://4e.plantphys.net/categories.php?t=t

The Arabidopsis Book
Description: Edited by Chris Somerville and Elliot Meyerowitz. Co-edited by Jeff Dangl and Mark Stitt. An Open Access electronic book, The Arabidopsis Book (TAB), is an attempt at a new mode of communication between researchers and a new model for scientific publishing. TAB in its initial stage is a compilation of over 100 invited chapters, each reviewing in detail an important and interesting aspect of the plant Arabidopsis thaliana, with reference to what is known in other plants and in other kingdoms. Each set of authors has agreed that their chapter can be kept up-to-date either by the original authors or by others. TAB will therefore be a dynamic information resource that will evolve with the state of knowledge. We envision evolution of the format as well as the contents - initially by taking advantage of the Web-based possibilities of hyperlinks, which will be added to cross-reference gene names and references to other chapters, and which will eventually lead from each gene and sequence reference to sequence databases, and from each paper cited to its abstract. The Arabidopsis Book is therefore envisioned as a complementary resource to the many databases that contain specific information about Arabidopsis, including The Arabidopsis Information Resource. It is our hope that this book will be broadly useful and, more generally, that it will facilitate the development of new web-based tools for dissemination of knowledge. TAB will be available only via the Internet and will be available free of charge. The American Society of Plant Biologists will provide funds for the mounting and maintenance of the book on the Internet as a public service. Electronic URL:	http://www.aspb.org/publications/arabidopsis/

http://www.bioone.org/action/showBook?doi=10.1199%2Ftab.book

Lectures and virtual journal club from Jen Sheen's lab (Harvard University)
PowerPoint Presentations: http://genetics.mgh.harvard.edu/sheenweb/courses/genetics300.html

 * Circadian Rhythms in Plants
 * by Elena Baena Gonzalez

 * Ethylene Signaling in Plants
 * by Sang-Dong Yoo

 * SAR Signaling
 * by Wisuwat Songnuan

 * Plant Root Endosymbioses
 * by Ethan Levesque

 * miRNAs and other RNAi-related factors
 * functions in plant and animal gene regulation and development
 * by Gabriel Hayes

http://genetics.mgh.harvard.edu/sheenweb/courses/genetics300.html

Jen Sheen's lab give access to its virtual journal club, where they provide every month a list of papers of particular interest, with comments. http://genetics.mgh.harvard.edu/sheenweb/virtual_journal.html

Other websites of interest

 * Ben Scheres (University of Utrecht) is quite famous in plant biology and his website is a good start to learn about root anatomy and development
 * General Biology tutorial
 * Scott Russell (Department of Botany and Microbiology of the University of Oklahoma) post Botanical Links every month on his website
 * Tutorial Material for Botanists. This page is under constant improvement. It is part of the Israeli Society of Plant Sciences site It includes links to sites related to teaching all aspects of botany.

title: Plant Sciences/Resources


text:
Plant Sciences/Introduction

Plant cells are immobile, encased in a rigid cell wall. Unlike animal cells, migration and programmed cell death play little role in the patterning of plant cell fates, nor can they move when their environment changes. If the supply of food is low or if there is a predator, animals can move, fight or fly. But plants cannot. They have to adapt constantly to their environment and their development is highly plastic. Animal development is mainly embryonic: the body shape is defined during embryogenesis and the adult derive from the enlargement of the embryo. In contrast, in plants, most of the development occurs post embryonically and never ceases. In fact, because plants can't escape from their physical locations, they adapt and "escape" through development. When there is a lack of nutrients or energy, the plant develops its root system to explore the ground or its aerial system to get some light. Under attack from a pathogen or herbivore, the plant is able to synthesise signalling molecules to change its development and defend itself.

Despite their sessile lifestyle, plant development is highly plastic, due to the important role of information exchange between neighbouring plant cells. It appears that cell are more dependent on their positional information rather than lineage origine as in animals. Almost every plant cell containing nucleus has been shown to be able to re-enter the cell cycle and divide. This occurs for example after wounding, neighbouring cells are able to divide and differentiate to replace dead cells.

In normal plant development, post embryonic growth comes from meristems. Meristem is a type of embryonic tissue in plants consisting of unspecialised, youthful cells called meristematic cells and found in areas of the plant where growth is or will take place - the roots and shoots. Meristematic cells are small isodiametric cells, the nuclei occupy most of the cell. The cytoplasm contains undifferentiated plastids and posses a small vacuole.

Pool of cells are kept meristematic and divide, cells exiting the meristematic zone, start elongating and then differentiating.

We’ll look at some of these unusual features of plant development using examples from the model plant, Arabidopsis thaliana.

title: Plant Sciences/Introduction


text:
Plant Sciences/Arabidopsis thaliana

Arabidopsis thaliana grows quickly, produces prolific seed, and is easy to transform. Its genome is completely sequenced and a large variety of experimental tools and genetic resources are available. This has made the plant one of the favourite tools of plant scientists.

title: Plant Sciences/Arabidopsis thaliana


text:
Chess Opening Theory/1. e4/1...c5/2. Nf3/2...d6/3. d4/3...cxd4/4. Nxd4/4...Nf6/5. Nc3/5...e5/6. Bb5/6...Nbd7

Open Sicilian 5...e5 6. Bb5+ Nbd7
was played in the 2024 fide chess Canidates tournament between GM Hikaru Nakamura and GM Fabiano Caruana which went 1. e4 c5 2. Nf3 d6 3. d4 cxd4 4. Nxd4 Nf6 5. Nc3 e5 6. Bb5+ Nbd7 7. Nf5 a6 8. Ba4 b5 9. Bb3 Nc5 10. Bg5 Bxf5 11. exf5 Be7 12. Bxf6 Bxf6 13. O-O e4 14. Nxe4 Nxe4 15. Re1 O-O 16. Rxe4 Bxb2 17. Rb1 Bf6 18. Qd5 Rc8 19. Qb7 Rc5 20. Qxa6 Rxf5 21. Rd1 d5 22. Rb4 Bc3 23. Rxb5 Rxf2 24. Rbxd5 Qh4 25. Qd3 Rf6 26. g3 Qb4 27. Kg2 Bb2 28. Rf5 g6 29. Rxf6 Bxf6 30. Qf3 Qe7 31. a4 Kg7 32. a5 Ra8 33. Rd5 Ra7 34. Rb5 Qd8 35. Rd5 Qc7 36. h4 Rxa5 37. Rxa5 Qxa5 38. Qb7 Qd8 39. Qxf7+ Kh6 40. Kh3 Qe7 41. Qc4 Qe3 (Draw by agreement)


text:
Talk:CPAM with TWW/Developer Guide

"Softeware" > "Software" ?
"Softeware" > "Software" ? R. Henrik Nilsson (discuss • contribs) 13:55, 6 April 2024 (UTC)

title: Talk:CPAM with TWW/Developer Guide


text: Category:Squid recipes

title: Category:Squid recipes


text: Talk:Information and Communication Technologies for Poverty Alleviation/Towards a General Framework Poverty Alleviation with ICTs


text:
User talk:41.114.143.153

April 2024
MathXplore (discuss • contribs) 06:55, 7 April 2024 (UTC)

title: User talk:41.114.143.153


text:
User talk:103.14.89.138

April 2024
MathXplore (discuss • contribs) 06:56, 7 April 2024 (UTC)

title: User talk:103.14.89.138


text:
User talk:209.212.215.39

April 2024
MathXplore (discuss • contribs) 07:14, 7 April 2024 (UTC)

title: User talk:209.212.215.39


text:
User talk:41.114.164.128

April 2024
MathXplore (discuss • contribs) 11:28, 7 April 2024 (UTC)

title: User talk:41.114.164.128


text:
Chess Opening Theory/1. d4/1...Nf6/2. Nd2

Nd2 is a weak move by White where Black can play the Budapest trap (Nd2 - e5, dxe5 -  Ng4,  h3 - Ne3)


text:
United States Postage Meter Stamp Catalog/GROUP OA – Official Armed Forces government business mail franks

GROUP AR: Meter stamps used by the Armed Forces
Click here to return to the United States Postage Meter Stamp Catalog

 * Group OA describes "OFFICIAL MAIL" format meter stamps used by the military for official business formerly listed under "Group OO".

 * Such stamps have town marks that contain "APO" (Army Post Office) or "FPO" (Fleet Post Office) or are mailed from Zipcodes that are known APO or FPO zipcodes.

 * Also included are meter stamps that have the name of a U.S. Navy ship in the town mark. These stamps are from meters located aboard ship.

 * Additionally any "OFFICIAL MAIL"meter stamp with "NAVY", "ARMY", "AIR FORCE", or "MARINE" referencing the armed services is included.

 * There are eight sub-groups based on the branch of the armed services using the meter. Click on those you want to see:

 * • Sub-group OA-NAV –  U.S. Navy
 * • Sub-group OA-ARM –  U.S. Army
 * • Sub-group OA-AIR –  U.S. Air Force
 * • Sub-group OA-MAR –  U.S. Marine Corps
 * • Sub-group OA-APO –  overseas Army and Air Force Post Offices
 * • Sub-group OA-FPO –  overseas Navy and Marine Fleet Post Offices
 * • Sub-group OA-NGD –  National Guard


text:
United States Postage Meter Stamp Catalog/GROUP OA – Official Armed Forces government business mail franks/Sub-group OA-MAR: Stamps used primarily for Marine Corps official business

Sub-group OA-MAR: Official Mail meter stamps used primarily for Marine Corps official business

 * Some of these stamps are quite elusive but their actual rarity is not known.

Type OO-IC3B(sub d, e, f) in 2001 edition

'''OA-MAR1.1. "Pitney Bowes 5303, 5336, 5382"''', 1979.
 * Corresponds to Type IC3.1., OO-A2.1.

 * V/F: MeterCat 5 spaces.jpg ≋ 0 .00 MeterCat 5 spaces.jpg (range: MeterCat 5 spaces.jpg.01 to 99.99)

 * a. Town mark contains "U.S.M.C." (U.S. Marine Corps) and no town name: MeterCat 5 spaces.jpg U.S.M.C. / FPO 98773MeterCat 5 spaces.jpg(3315230) MeterCat 5 spaces.jpg[R]
 * b. Town mark contains "USMC" and no town name: MeterCat 5 spaces.jpg USMC FPO / 98773MeterCat 5 spaces.jpg(3315230) MeterCat 5 spaces.jpg[R]
 * c. Town mark reads: MeterCat 5 spaces.jpg U.S. MARINE CORPS FPO / 96310 MeterCat 5 spaces.jpg(3315233) MeterCat 5 spaces.jpg[R]

Type OO-IC4 in 2001 edition

'''OA-MAR1.2. "Pitney Bowes 5313"''', 1979.
 * Corresponds to Type IC4.1, OO-A2.2.
 * Value figures with wide wavy-line triad at left and no symbol at right (does not print fractions of a cent).
 * When printing dollar values a narrow wavy-line triad appears left of the dollar number.

 * Meter numbers: MeterCat 5 spaces.jpg 3020000 series
 * V/F: MeterCat 5 spaces.jpgUSA meter stamp wide triad symbol.jpg .00 MeterCat 5 spaces.jpg ≋ 1.00♦ MeterCat 5 spaces.jpg (range: MeterCat 5 spaces.jpg.01 to 9.99)

♦  Stamps with dollar values show a small wavy-line triad at left of the dollar number. These stamps resemble Type OO-A2.1 stamps. They can be differentiated by the placement of the decimal and the right-most number. See close-up scans at right.

 * a. ZIP code at bottom of town mark:
 * - MeterCat 5 spaces.jpg KANEOHE MCAS HAWAII / 96863MeterCat 5 spaces.jpg(3025273) MeterCat 5 spaces.jpg[R]
 * b. Town mark reads:MeterCat 5 spaces.jpg US MARINE CORPS / FPO 98764MeterCat 5 spaces.jpg(3025523)
 * c. Town mark has U.S.M.C. at top and 5-digit number at bottom:
 * - MeterCat 5 spaces.jpg 96607 MeterCat 5 spaces.jpg(3025328, 3025516)
 * - MeterCat 5 spaces.jpg 98764 MeterCat 5 spaces.jpg(3025465)
 * d. Town mark reads:MeterCat 5 spaces.jpg USMC 1STFSSG CAMP PENDELTON / CA. MeterCat 5 spaces.jpg(3025266, 3025352, 3025493, 3025526)

Type OO-IE1, OO-A4 in previous editions

'''OA-MAR2. "Pitney Bowes 6500" series'''.
 * Corresponds to Type IE1, OO-A4.
 * As previous OO-A types but the value box is much wider than tall.
 * Wavy lines at left in value figures, 2mm tall ( ≋ )
 * Meter numbers: 6250000 series
 * V/F: MeterCat 5 spaces.jpg ≋ 0 .00 ≋ MeterCat 5 spaces.jpg (range: MeterCat 5 spaces.jpg.001 to 99.999)

 * a. Town mark reads:MeterCat 5 spaces.jpg KANEOHE MCAS HAWAII / 96863MeterCat 5 spaces.jpg(6251835)


text:
Guitar/Campfire Diploma

= The Campfire Diploma =

 * Original page translated by Google

The Campfire Diploma is the first part of a multi-volume guitar school in the Wikibooks project guitar. The first volume teaches the basics of playing the guitar for hobby guitarists, that you can't get along without. The campfire diploma, including all songs, sheet music and tablature for guitar lessons, may be freely copied and used free of charge.

Learning goals for 8 lessons

 * 6 chords:
 * 5 strumming patterns: 4/4, railway, western, 3/4 and campfire strumming patterns
 * quick chord changes (i.e. chord changes within a measure or within a strum pattern)

Despite the very limited learning material, on successful completion of the course you will be able to accompany hundreds of songs.

 * Over 70 copyright-free songs are available with lyrics and chords.
 * Furthermore, over 130 popular songs are suggested. (Although without lyrics, but with chords and links to YouTube )

You will be able to accompany many popular songs in addition to the typical scout songs.

 * Breakfast at Tiffany's - Deep Blue Something
 * American Pie – Don McLean
 * Country Roads – John Denver
 * Father and Son – Cat Stevens
 * Knockin on Heaven's Door - Bob Dylan
 * Let It Be – Beatles
 * Viva La Vida (Coldplay)
 * And and and ...

Unfortunately, due to strict copyright law, it is not possible to publish popular song lyrics with the appropriate accompaniment, but you can find the examples in many song books. We'll give you tips on which chords you can use to accompany well-known songs. This helps if the arrangements in the songbooks are not so convenient for the guitar beginner.

What you learn here will accompany you throughout your entire life as a guitarist. You can build on these basic techniques and come back to them again and again.

 * In the subsequent Folk Diploma you will learn more basic chords and accompaniment techniques.
 * In the Rock Diploma you will learn power chords and barre chords, and the topic of rhythm will be deepened.
 * In the Ballad Diploma the harmonies are expanded and further picking techniques are taught.
 * In the Rock Ballad Diploma you also transfer the extended harmonies to the barre chords and get a taste of jazz.
 * Other volumes such as Solo Guitar
 * or Melody Picking complete the guitar course.

Lessons
A lesson is intended for one unit per week (the time to practice and repeat the lesson is not included). There are a total of 8 lessons that teach chords, rhythms and a little harmony, so a lesson can have several chapters. In youth groups where there is a lot of singing (scouts, church youth work, etc.), many texts and melodies are familiar. These can be used as practice examples and you make rapid progress. If you have to concentrate more on learning the individual songs in class, each lesson can be spread over two or three weeks.

The lessons are structured in such a way that the material (i.e. the chords and strumming patterns) of the previous lessons is repeated. Therefore, you can move forward with the lessons, even if the last one is not yet completely error-free. Even if you miss a lesson in the group, the learning curve is so flat that you can easily make up for what you missed. So that the repetitions don't become boring for the other students, they are packaged in new songs.

The 8 lessons of the Campfire Diploma are designed to last two months. However, self-learners should plan a little more time.

 * Lesson 1
 * Forming the D chords
 * 4/4-strumming patterns
 * Chord changes from D to A
 * Lesson 2
 * Chord changes from G to D
 * The major cadence
 * The western strumming pattern
 * Simple ¾ beat
 * Lesson 3
 * G-C-D
 * Fingering
 * Campfire strumming pattern
 * Lesson 4
 * G-Em-C-D
 * Lesson 5
 * Quick Chord Change
 * Lesson 6
 * C-Am
 * Lesson 7
 * Jumps Em-D / G-Am
 * Lesson 8
 * Completion

What is the “Campfire Diploma”?
The guitar courses on Wikibooks are aimed at hobby musicians. Based on the Pawn Diploma (along with the Rook Diploma and the King's Diploma) of the German Chess Federation, the Wikibooks' diplomas (Campfire Diploma, Folk Diploma, Rock Diploma, Ballad Diploma, etc.) offer beginners the opportunity to declare that they have reached a certain level of playing the guitar.

You achieve a diploma by being able to play a collection of songs that cover all learning objectives. The diplomas can be issued without examination by any guitar teacher (including volunteers) who has received the order from a public institution or organization (municipalities, schools, church institutions, music schools, adult education centers, etc.) and who has the diploma with a stamp the organization can have it certified. The songs don't have to be played from memory, nor do they have to be 100% error-free. However, you should have a minimum of security when it comes to rhythm and grip changes.

With the “Campfire Diploma” you have enough chords and percussion techniques to accompany songs (around the campfire) for well over three hours without repeating yourself.

You don't get just any campfire diploma, but the campfire diploma. The term campfire diploma and the other diplomas are new words created by the author Mjchael and were adopted specifically for the Wikibooks. Any use of this term therefore refers to the learning content and learning objectives conveyed here. Every guitar teacher is welcome to advertise with the term "campfire diploma" as long as he refers to this Wikibooks course and includes an easy-to-read link to the campfire diploma or at least the guitar book as the source, so that it is clear that it is a Wikibooks book acts.

From an idea to a concept
In a Boy Scout camp there was the following rule: If you didn't have a minimum level of skills, you weren't allowed to touch a guitar. The aim was to protect both the guitars and the nerves and ears of everyone involved. This is how the idea for the campfire diploma came about. This course provides such a minimum of knowledge and skills.

The Campfire Diploma represents something like a 'free float of guitar playing'. The knowledge imparted is a "must" for every guitarist. It doesn't matter whether you want to play the electric guitar, western guitar or classical guitar.

From concept to practice
Before the Campfire Diploma was introduced as a book for the German Wikibooks in 2006, the teaching concept had already been used, tested and further developed for several years. With their campfire diploma, educators, teachers and leaders of youth groups have the courage to put their newly acquired song accompaniment skills into practice in their groups. In addition, the online course has been and is constantly being read and improved by members from various guitar forums and Facebook groups. Errors that are noticed are usually corrected immediately.

More tips
Although the courses (campfire diploma and following) are intended for self-learners and have been formulated in detail, it should be mentioned that you learn faster with a teacher. If no one is available, tips from an experienced guitar player can also help.

It's also worth taking a look at one or two guitar books. Books have the advantage that you don't have to sit in front of the PC, but rather wherever you like. In addition, books and teachers are not limited to copyright-free exercise examples, so they may offer a larger selection of songs.

title: Guitar/Campfire Diploma


text:
United States Postage Meter Stamp Catalog/GROUP OA – Official Armed Forces government business mail franks/Sub-group OA-NAV: Stamps used by the Navy for official business

Type OO-IC4, OO-A2.2 in previous editions

OA-NAV1 Pitney Bowes "5313", 1979.
 * Corresponds to Type IC4.1 and OO-A2.2
 * Value figures with wide wavy-line triad at left and no symbol at right (does not print fractions of a cent).
 * When printing dollar values a narrow wavy-line triad appears left of the dollar number.

 * Meter numbers: MeterCat 5 spaces.jpg00 series
 * V/F: MeterCat 5 spaces.jpgUSA meter stamp wide triad symbol.jpg .00 MeterCat 5 spaces.jpg ≋ 1.00♦ MeterCat 5 spaces.jpg (range: MeterCat 5 spaces.jpg.01 to 9.99)

♦  Stamps with dollar values show a small wavy-line triad at left of the dollar number. These stamps resemble Type OO-A2.1 stamps. They can be differentiated by the placement of the decimal and the right-most number. See close-up scans at right.

 * a. Town mark reads:MeterCat 5 spaces.jpg U.S. NAVY / FPO 98764MeterCat 5 spaces.jpg(3025523)

Type OO-ID2, OO-A3.1 in previous editions

'''OA-NAV2.1. Pitney Bowes "5702", "5705", "5707"'''.
 * Corresponds to Type ID2, OO-A3.1.
 * As previous OO-A types but with much larger value box.
 * Meter numbers: 1600000 series
 * V/F: MeterCat 5 spaces.jpg ≋ 0.00 MeterCat 5 spaces.jpg (range: MeterCat 5 spaces.jpg.01 to 9.99)

 * a. Town mark contains ship name and designation: MeterCat 5 spaces.jpg USS LONG BEACH / CNG9 MeterCat 5 spaces.jpg (1600290)

Type OO-ID3, OO-A3.2 in 2001 edition

'''OA-NAV2.2. Pitney Bowes "5703"'''. [R]
 * Corresponds to Type ID3, OO-A3.2.
 * As Type OO-A3.1 but value figures with wavy line triads at both sides of the value figures.
 * Meter numbers: 1700000 series
 * V/F: MeterCat 5 spaces.jpg ≋ .00 ≋

 * a. Town mark contains ship name and "FPO": MeterCat 5 spaces.jpg USS MISSISSIPPI / FPO NY 09578 MeterCat 5 spaces.jpg (1703874)

Type OO-IE1, OO-A4 in previous editions

'''OA-NAV3. Pitney Bowes "6500" series'''.
 * Corresponds to Type IE1, OO-A4.
 * As previous OO-A types but the value box is much wider than tall.
 * A. Wavy lines at left in value figures, 2mm tall ( ≋ )
 * B. Smaller wavy lines at left in value figures, 1mm tall ( ≋ ) (2310000 and 6090000 series)
 * C. The lines of the value box are thicker than the town mark circle line. (2310000 and 6090000 series) MeterCat 5 spaces.jpg[RR]
 * Meter numbers: 2310000, 6000000, and 6250000 series
 * V/F: MeterCat 5 spaces.jpg ≋ 0 .00 ≋ MeterCat 5 spaces.jpg (range: MeterCat 5 spaces.jpg.001 to 99.999)

 * a. Town mark with US NAVY FPO  at top, 5-digit number at bottom
 * b. Town mark with US NAVY FPO AE  or  US NAVY FPO AP  at top, 5-digit number at bottom
 * c. As b but "U.S." with stops
 * d. Town mark with NAVY POSTAL SERVICE FPO AE  at top, 5-digit number at bottom
 * e. Town mark with ship name:MeterCat 5 spaces.jpg USS SAIPAN FPO NY / 09549-1605MeterCat 5 spaces.jpg(?)

Type OO-IH1 or OO-A7 in previous editions

'''OA-NAV4. Pitney Bowes "Paragon"'''.
 * Corresponds to Type IH1, OO-A7.
 * Relatively large stamp with value box wider than tall, "U.S. POSTAGE" at bottom.
 * Printed in magenta rather than red or orange-red.
 * Meter numbers 7250000 series
 * V/F: MeterCat 5 spaces.jpg ≋ 0 .00 ≋ MeterCat 5 spaces.jpg (range: MeterCat 5 spaces.jpg.00 1 to 99.99 9 )

 * a. Town mark with ship name:MeterCat 5 spaces.jpg USS PUGET SOUND AD38 / FPO 09544MeterCat 5 spaces.jpg(7252000)

Type OO-KE3-2 or OO-C3.4 in previous editions

'''OA-NAV5. Friden Singer ''' (MV).
 * Corresponds to Type KE1.3 and OO-C3.4.
 * As Type OO-C3.3 but the bottom frame line is broken by the meter number.
 * M# with "F" prefix.
 * M# in 503000 and 504000 series.
 * V/F: MeterCat 5 spaces.jpg ≋ 0.00 MeterCat 5 spaces.jpg (range: MeterCat 5 spaces.jpg.01 to 9.99)

 * A. Wavy line triad type B at left MeterCat 5 spaces.jpg[RR]
 * a. With ship name and designation in town mark
 * B. Wavy line triad type D at left
 * a. With ship name and designation in town mark
 * - MeterCat 5 spaces.jpg USS NIMITZ CVN 68/ 98780MeterCat 5 spaces.jpg(504246)
 * - MeterCat 5 spaces.jpg USS NIMITZ CVN 68/ 96997MeterCat 5 spaces.jpg(504246)

Type OO-KG2-1 or OO-C5.1A in previous editions

'''OA-NAV6. Friden-Alcatel “9258”''' (MV), 1988. [$5]
 * Corresponds to Type KG1.2 and OO-C5.1.
 * The frank has a near complete outer frame line broken by U.S. OFFICIAL MAIL at top and the meter number at bottom.
 * Penalty statement at left.
 * The design contains seven outline stars, two below the penalty statement, three in a column at right of the value box, and two large ones in the upper and lower right corners.
 * M# with "F" prefix. M# in 520000 series.
 * V/F: MeterCat 5 spaces.jpg ≋ 0.00 MeterCat 5 spaces.jpg (range: MeterCat 5 spaces.jpg.01 to 99.99)
 * With ship name and designation in town mark

 * -  USS Canopus AS 34 / 34087(520248)
 * -  USS D D Eisenhower CVN 69 / 09532(520242)
 * -  USS Inchon LPH 12 / 09529(520082)
 * -  USS Iwo Jima LPH 2 / 09561(520230)
 * -  USS Jabon AR 8 / 96644(520235)
 * -  USS Kitty Hawk CV-63 / 96634(520261)
 * -  USS Nimitz CVN 68 / 98780(520272)
 * -  USS Saratoga CV 60 / 34078(520025)
 * -  USS Shenandoah AD 44 / 09551(520256)
 * -  USS Simon Lake AS 33 / 09536(520231)

Type OO-KG2-2 and OO-C6.1 in 2001 edition

'''OA-NAV7.1. Friden-Alcatel "9258”''' (MV). [RR]
 * Corresponds to Type KG1.2 and OO-C6.1.
 * As Type OO-C5.1 but with four stars instead of three in the column at right of the value box.
 * V/F: MeterCat 5 spaces.jpg ≋ 0.00 MeterCat 5 spaces.jpg (range: MeterCat 5 spaces.jpg.01 to 99.99)
 * With ship name and designation in town mark

Type OO-KG2-3 and OO-C6.3 in 2001 edition

'''OA-NAV7.2. Friden-Alcatel "9258”''' (MV).
 * Corresponds to Type KG1.2 and OO-C6.3.
 * As Type OO-C6.1 but the outer frame lines along the left side and to the right of U.S. OFFICIAL MAIL at top are removed.
 * V/F: MeterCat 5 spaces.jpg ≋ 0.00 MeterCat 5 spaces.jpg (range: MeterCat 5 spaces.jpg.01 to 99.99)
 * With ship name and designation in town mark

 * -  USS Blue Ridge LCC 19 / 96628(520024)

Type OO-LA1 and OO-D1.1 in previous editions

'''OA-NAV8. Hasler "Mailmaster"'''.
 * Frank shape corresponds to Group LA1. Value figures correspond to Types LA1.1 and LB1.1.
 * The three stars at right have one arm pointing up.
 * Distance between the right edge of the date and the left edge of the value figures is approximately 25-26 mm. The right-most digit in the value figures falls under the "M" of "MAIL".
 * Meter numbers in 288000-546000 and 2000000 series
 * V/F: MeterCat 5 spaces.jpg.00 MeterCat 5 spaces.jpg (range: MeterCat 5 spaces.jpg.01 to 99.99)
 * Large single circle town mark, 27 mm in diameter
 * Ship name and designation in town mark MeterCat 5 spaces.jpg[R-RRR]

 * -  USS Hunley AS-31 (439921)


text:
United States Postage Meter Stamp Catalog/GROUP OA – Official Armed Forces government business mail franks/Sub-group OA-ARM: Stamps used primarily for Army official business

Sub-group AR-ARM: Official Mail meter stamps used primarily for Army official business

 * Some of these stamps are quite elusive but their actual rarity is not known.

Type OO-IE1, OO-A4 in 2001 edition

'''OA-ARM1. "6500" series'''.
 * Corresponds to Types IE1, OO-A4.
 * As previous OO-A types but the value box is much wider than tall.
 * A. Wavy lines at left in value figures, 2mm tall ( ≋ )
 * B. Smaller wavy lines at left in value figures, 1mm tall ( ≋ ) (2310000 and 6090000 series)
 * C. The lines of the value box are thicker than the town mark circle line. (2310000 and 6090000 series) MeterCat 5 spaces.jpg[RR]
 * Meter numbers: 2310000, 6000000, and 6250000 series
 * V/F: MeterCat 5 spaces.jpg ≋ 0 .00 ≋ MeterCat 5 spaces.jpg (range: MeterCat 5 spaces.jpg.001 to 99.999)

 * a. Town mark with U.S. ARMY  at top,  APO  and 5-digit number at bottom


text:
United States Postage Meter Stamp Catalog/GROUP OA – Official Armed Forces government business mail franks/Sub-group OA-AIR: Stamps used primarily for Air Force official business

Sub-group AR-AIR: Official Mail meter stamps used primarily for Air Force official business

 * Some of these stamps are quite elusive but their actual rarity is not known.

Type OO-IC4, OO-A2.2 (part) in previous editions

'''OA-AIR1. "Pitney Bowes 5313"''', 1979.
 * Corresponds to Type IC4.1 and OO-A2.2.
 * Value figures with wide wavy-line triad at left and no symbol at right (does not print fractions of a cent).
 * When printing dollar values a narrow wavy-line triad appears left of the dollar number.

 * Meter numbers: MeterCat 5 spaces.jpg 3020000 series
 * V/F: MeterCat 5 spaces.jpgUSA meter stamp wide triad symbol.jpg .00 MeterCat 5 spaces.jpg≋1.00♦ MeterCat 5 spaces.jpg(range: MeterCat 5 spaces.jpg.01 to 9.99)

♦ Stamps with dollar values show a small wavy-line triad at left of the dollar number. These stamps resemble Type OO-A2.1 stamps. They can be differentiated by the placement of the decimal and the right-most number. See close-up scans at right.

 * a. Town mark reads:MeterCat 5 spaces.jpg FORCE POSTAL SERVICE / 09097MeterCat 5 spaces.jpg(3025265)

Type OO-KE1.1 or OO-C3.1 in 2001 edition

OA-AIR2 Singer "9232"  (MV).
 * Corresponds to Type KE1.1, OO-C3.1C.
 * Value figures with wavy line triads at both sides. Triad type A at right.
 * "U.S. POSTAGE" extends to the left of the penalty statement. The left side of the value box is under the second "F" in "OFFICIAL".
 * Similar to OO-C1 types except the design includes only two stars which flank the meter number at the bottom.
 * M# in 503000 and 504000 series.
 * Wavy line triad type D at left. M# with "S" prefix
 * V/F: MeterCat 5 spaces.jpg≋.00≋ MeterCat 5 spaces.jpg (range: MeterCat 5 spaces.jpg.01 to 9.99)


text:
United States Postage Meter Stamp Catalog/GROUP OA – Official Armed Forces government business mail franks/Sub-group OA-APO: Stamps with "APO" (Army Post Office) in the town mark but without indication of which military service used the meter

==== Sub-group AR-APO: Official Mail meter stamps with "APO" (Army Post Office) in the town mark but without indication of which military service used the meter ====

 * Some of these stamps are quite elusive but their actual rarity is not known.

Type OO-IC4, OO-A2.2  in previous editions

'''OA-APO1. "Pitney Bowes 5313"''', 1979.
 * Corresponds to Type IC4.1, OO-A2.2.
 * Value figures with wide wavy-line triad at left and no symbol at right (does not print fractions of a cent).
 * When printing dollar values a narrow wavy-line triad appears left of the dollar number.
 * Meter numbers: MeterCat 5 spaces.jpg 3020000 series
 * V/F: MeterCat 5 spaces.jpgUSA meter stamp wide triad symbol.jpg .00 MeterCat 5 spaces.jpg ≋ 1.00♦ MeterCat 5 spaces.jpg (range: MeterCat 5 spaces.jpg.01 to 9.99)

♦  Stamps with dollar values show a small wavy-line triad at left of the dollar number. These stamps resemble Type OO-A2.1 stamps. They can be differentiated by the placement of the decimal and the right-most number. See close-up scans at right.

 * a. Town and state at top of town mark, "APO" and 5-digit number at bottom
 * b. As a but with 9-digit number at bottom
 * c. "APO" and town name or abbreviation at top of town mark, 5-digit number at bottom
 * d. As c but with 9-digit number at bottom USA meter stamp OO-A2p2kk.jpg
 * e. As c but "APO AE" at top of town mark
 * f. Town mark reads:MeterCat 5 spaces.jpg A.P.O. 09283 / NEW YORKMeterCat 5 spaces.jpg(3025164)
 * g. Town mark has APO AE  at top and 5-digit number at bottom
 * h. Town mark reads:MeterCat 5 spaces.jpg 81 CSG/DAA / APO 09755 NY MeterCat 5 spaces.jpg(3025167)(?)  MeterCat 5 spaces.jpg[R]

'''OA-APO2. "Pitney Bowes 5703"'''. [R]
 * Corresponds to Type ID3, OO-A3.2.
 * Value figures with wavy line triads at both sides of the value figures.
 * Meter numbers: 1640000-1710000 series
 * V/F: MeterCat 5 spaces.jpg ≋ .00 ≋ MeterCat 5 spaces.jpg ≋ 0.00  MeterCat 5 spaces.jpg (range: MeterCat 5 spaces.jpg.00 1 to 9.99 9 )

 * a. Town mark with APO  and town designation at top and 5-digit number at bottom:
 * - MeterCat 5 spaces.jpg APO NY / 09616 MeterCat 5 spaces.jpg(1704187)
 * - MeterCat 5 spaces.jpg ? MeterCat 5 spaces.jpg(1705476)

Type OO-IE1, OO-A4 in previous editions

'''OA-APO3. "Pitney Bowes 6500" series'''.
 * Corresponds to Type IE1, OO-A4.
 * As previous OO-A types but the value box is much wider than tall.
 * A. Wavy lines at left in value figures, 2mm tall ( ≋ )
 * Meter numbers: 6250000 series
 * V/F: MeterCat 5 spaces.jpg ≋ 0 .00 ≋ MeterCat 5 spaces.jpg (range: MeterCat 5 spaces.jpg.001 to 99.999)

 * a. Town mark with town and state at top, APO  and 5-digit number at bottom
 * b. As a, but with 9-digit number at bottom
 * c. Town mark with APO  and town designation at top with 5-digit number at bottom
 * d. As c, but with 9-digit number at bottom
 * e. Town mark reads:MeterCat 5 spaces.jpg APO / 98733MeterCat 5 spaces.jpg(6250347)
 * f. Town mark with APO AP  at top, 5-digit number at bottom

Type OO-JA1 or OO-B1 in previous editions

'''OA-APO4. Postalia "KF 1501"''' (MV), 1978.
 * Corresponds to Type JA1.1, OO-B1.
 * Square frank with column of three stars at right.
 * Penalty statement at left and bottom left.
 * The meter number is in a separate panel across the bottom.
 * Meter number with "POSTALIA" prefix.
 * Meter numbers in 6000000 - 613000 series.
 * V/F: MeterCat 5 spaces.jpg ≋ .00 MeterCat 5 spaces.jpg (range: MeterCat 5 spaces.jpg.01 to 9.99)

 * a. Town mark has APO  and town designation at top and 5-digit number at bottom

Type OO-KG2-1 and OO-C5.1B in previous editions

'''OA-APO5. Friden-Alcatel “9258”''' (MV), 1988. [$5]
 * Corresponds to Type KG1.2 and OO-C5.1.
 * The frank has a near complete outer frame line broken by U.S. OFFICIAL MAIL at top and the meter number at bottom.
 * Penalty statement at left.
 * The design contains seven outline stars, two below the penalty statement, three in a column at right of the value box, and two large ones in the upper and lower right corners.
 * M# with "F" prefix. M# in 520000 series.
 * V/F: MeterCat 5 spaces.jpg ≋ 0.00 MeterCat 5 spaces.jpg (range: MeterCat 5 spaces.jpg.01 to 99.99)
 * Town contains APO designation at top and APO # at bottom. Two reported so far: MeterCat 5 spaces.jpg
 * -  APO NY / 09111(520122)
 * -  APO NY / 09178(520113)

Type OO-KG2-3 and OO-C6.3 in 2001 edition

'''OA-APO6. Friden-Alcatel "9258”''' (MV).
 * Corresponds to Type KG1.2 and OO-C6.3.
 * As Type OO-C6.1 but the outer frame lines along the left side and to the right of U.S. OFFICIAL MAIL at top are removed.
 * V/F: MeterCat 5 spaces.jpg ≋ 0.00 MeterCat 5 spaces.jpg (range: MeterCat 5 spaces.jpg.01 to 99.99)
 * "APO NY" at top of town mark, 5-digit number at bottom MeterCat 5 spaces.jpg[RR]


text:
United States Postage Meter Stamp Catalog/GROUP OA – Official Armed Forces government business mail franks/Sub-group OA-FPO: Stamps with "FPO" (Fleet Post Office) in the town mark but without indication of which military service used the meter

Sub-group AR-FPO: Official Mail meter stamps with "FPO" (Fleet Post Office) in the town mark but without indication of which military service used the meter

 * Some of these stamps are quite elusive but their actual rarity is not known.

Type OO-IC4 or OO-A2.2 in previous editions

'''OA-FPO1. "Pitney Bowes 5313"'''.
 * Corresponds to Type IC4.1, OO-A2.2 (part).
 * Value figures with wide wavy-line triad at left and no symbol at right (does not print fractions of a cent).
 * When printing dollar values a narrow wavy-line triad appears left of the dollar number.

 * Meter numbers: MeterCat 5 spaces.jpg 3020000 series
 * V/F: MeterCat 5 spaces.jpgUSA meter stamp wide triad symbol.jpg .00 MeterCat 5 spaces.jpg ≋ 1.00♦ MeterCat 5 spaces.jpg (range: MeterCat 5 spaces.jpg.01 to 9.99)

♦  Stamps with dollar values show a small wavy-line triad at left of the dollar number. These stamps resemble Type OO-A2.1 stamps. They can be differentiated by the placement of the decimal and the right-most number. See close-up scans at right.

 * a. Town and state at top of town mark, "FPO" and 5-digit number at bottom
 * b. As a but with 9-digit number at bottom
 * c. "FPO" and town name or abbreviation at top of town mark, 5-digit number at bottom
 * d. As c but with 9-digit number at bottom

Type OO-IE1 or OO-A4 in previous editions

'''OA-FPO2. "Pitney Bowes 6500" series'''.
 * Corresponds to Type IE1, OO-A4.
 * As previous OO-A types but the value box is much wider than tall.
 * A. Wavy lines at left in value figures, 2mm tall ( ≋ )
 * Meter numbers: 6250000 series
 * V/F: MeterCat 5 spaces.jpg ≋ 0 .00 ≋ MeterCat 5 spaces.jpg (range: MeterCat 5 spaces.jpg.001 to 99.999)

 * a. Town mark with town and state at top, FPO  and 5-digit number at bottom
 * b. As a, but with 9-digit number at bottom
 * c. Town mark with FPO  and town designation at top with 5-digit number at bottom
 * d. As c, but with 9-digit number at bottom
 * e. Town mark with FPO AP  or  FPO AE  at top, 5-digit number at bottom
 * f. Town mark reads:MeterCat 5 spaces.jpg FPO SAN FRANCISCO / 96654 (without state) MeterCat 5 spaces.jpg(6250128)


text:
United States Postage Meter Stamp Catalog/GROUP OA – Official Armed Forces government business mail franks/Sub-group OA-NGD: Stamps used by the National Guard for official business

Sub-group AR-NGD: Official Mail meter stamps used by the National Guard for official business

 * AR-NGD stamps are identified by the slogan since the town mark contains no indication of military use.
 * The National Guard offices come under the jurisdiction of both the Army and the Air Force.
 * First seen in the 1980s.

NOTE: Since a systematic accounting of National Guard meter stamps has not been attempted before, it is likely that more types and varieties exist than those cataloged here.

Type OO-IC4 or OO-A2.2 in previous editions

'''OA-NGD1. "Pitney Bowes 5313"''',
 * Corresponds to Type IC4.1 and OO-A2.2.
 * Value figures with wide wavy-line triad at left and no symbol at right (does not print fractions of a cent).
 * When printing dollar values a narrow wavy-line triad appears left of the dollar number.

 * Meter numbers: MeterCat 5 spaces.jpg 3020000 series
 * V/F: MeterCat 5 spaces.jpgUSA meter stamp wide triad symbol.jpg .00 MeterCat 5 spaces.jpg ≋ 1.00♦ MeterCat 5 spaces.jpg (range: MeterCat 5 spaces.jpg.01 to 9.99)

♦  Stamps with dollar values show a small wavy-line triad at left of the dollar number. These stamps resemble Type OO-A2.1 stamps. They can be differentiated by the placement of the decimal and the right-most number. See close-up scans at right.

 * a. ZIP code at bottom of town mark:
 * - MeterCat 5 spaces.jpg MCENTIRE ANG BASE, SC / 29044MeterCat 5 spaces.jpg(979325)  MeterCat 5 spaces.jpg[RR]

Type OO-LA1 and OO-D1.1 in previous editions

'''OA-NGD2. Hasler "Mailmaster"''', 1982.
 * Frank shape corresponds to Group LA1. Value figures correspond to Types LA1.1 and LB1.1.
 * The three stars at right have one arm pointing up.
 * Distance between the right edge of the date and the left edge of the value figures is approximately 25-26 mm. The right-most digit in the value figures falls under the "M" of "MAIL".
 * Meter numbers in 288000-546000 and 2000000 series
 * V/F: MeterCat 5 spaces.jpg.00 MeterCat 5 spaces.jpg (range: MeterCat 5 spaces.jpg.01 to 99.99)
 * Large single circle town mark, 27 mm in diameter
 * Town mark without state designation: MeterCat 5 spaces.jpg OTIS ANGB / 02542 MeterCat 5 spaces.jpg(2373939)  MeterCat 5 spaces.jpg[R-RRRR]


text:
User talk:Chelsea Chiovelli (WMCA)

Wikimedia Canada survey
Hi ,

Re: Reading room/General Just a couple of points;
 * Even though I am located in Canada and am a member in good standing on Wikibooks I am unable to participate in the survey because I have been infinitely blocked on META. There may be other Canadians in the same predicament, I don't know how one can check this.
 * Note: Many Wikimedians (including me) will not click on links that lead outside of the wikis for privacy reasons.

Cheers, Ottawahitech (discuss • contribs) 00:28, 8 April 2024 (UTC) Note added: Ottawahitech (discuss • contribs) 15:11, 8 April 2024 (UTC)
 * In case anyone doubts my assertion that Canada and other English-speaking countries get much less coverage than the United States here is a list of almost 5,000 articles on the English wikipedia tagged with "this article may not represent a worldwide view of the subject" (this is just a suggestion for a possible way to investigate this topic)

 * Hi again,
 * Thanks for letting me know. Just to clarify, you're not able to visit the survey landing page on Meta because you are blocked there? Is that the case if a contributer is blocked on any of the projects? ie) if someone is blocked on enWiki they aren't able to go to enWiki to read articles? We used a landing page so people wouldn't have to click on a link leading to an external website (as you mentioned) before reading more about the survey and Meta seemed the most appropriate place. I'm honestly not sure how to work around that, I'm sorry! The survey closed on March 31st so I can't do much now but I'll definitely keep this in mind for any future announcements WMCA needs to post.
 * I have no doubt that you're right about the US topics getting more coverage on enWiki. I didn't know that tag existed so thank you for pointing it out!
 * Best, Chelsea Chiovelli (WMCA) (discuss • contribs) 23:24, 10 April 2024 (UTC)

title: User talk:Chelsea Chiovelli (WMCA)


text:
User:TowelPaint57

yo i usually do wikipedia stuff

title: User:TowelPaint57


text:
User talk:2402:8100:31D3:7309:0:2F:CF46:4301

April 2024
MathXplore (discuss • contribs) 02:03, 8 April 2024 (UTC)


text: Guitar/under construction - in translation


text:
Guitar/The four quarters strumming patterns

 * Original page translated by Google

= Introducing stroke patterns =

You'll learn a handful of strumming patterns here in the Campfire Diploma. Play these exactly as they are written. Later in the folk diploma you will learn how to vary the rhythms a little. But first, a secure rhythm is the most important thing besides the chords.

The 4/4-Strumming Pattern

The easiest strumming pattern is four downstrokes. Most of the songs you find in standard songbooks are written in 4/4 time. Therefore, “counting to 4” must become second nature through constant practice.

It is important to develop a feeling for where the beginning of a measure - i.e. the "1" - is. You can hit the "1" a little louder than the other beats, or you can count it a little louder. The "1" often goes hand in hand with the beginning of a sentence, but unfortunately not always. Listen to the music examples and try to hear the "1" in a bar. Maybe pay attention to the drums in the background. Even if you can't read music yet, the bar lines on a staff can be helpful. Chord changes usually occur on the "1".
 * Emphasize the 1

Many things come together when learning rhythm. Counting - consciously paying attention to the beat of music - practically executing a beat pattern - using the bar lines as a guide to the notes - the beat pattern images - everything works together. All the elements help make your first steps easier so you get a feel for the rhythm.

Strumming is not just a matter of the head, but hearing and the movement of your body (here more specifically: the strumming pattern you perform) are part of it. It's best to practice the strumming patterns with songs that you listen to at the same time. If you have a Midi file, MP3 or video download for the piece, you can use some programs (VanBasco, VLC, BestPractice, Music Speed Changer app, etc.) to slow down the tempo so that you no longer have any difficulties. to play along.

Although the arrows are drawn the other way around in some books, in this graphic "top" and "bottom" are not swapped! Like the chord diagrams, the strings are always shown from the player's perspective; the way he looks at the strings from above. You've already seen it with the chord pictures, and when you learn the tablature later, you'll see that "upside down" is the general standard.
 * Note

For each number, strike with the fingernails of your right hand (2-3 fingers or - if you want to be a little quieter - just the index finger) from top to bottom. Your fingernails are parallel to the strings. It doesn't hurt if the fingernails protrude half a millimeter or a little more. You use the same natural motion as if you were trying to remove a few cake crumbs from your pant leg.

Your thumb and index finger can touch each other a little, but they should remain mobile (almost as if you had a ball of plasticine or something similar between your fingers).

 * [[file:Down stroke 1.jpg]] [[file:spacer.gif|50px]][[file:Down stroke 2.jpg]]

Alternatively, you can use a soft pick to start with. However, I would only recommend it if you have problems with your fingernails. You can get a better feel for the instrument with your fingers. Use picks more for playing loudly. Later it's purely a matter of taste whether you play with or without a pick. However, you should be able to do both.

The blows are delivered evenly, like the ticking of a clock. This movement is completely independent of the melody you are currently singing. You don't start to walk faster or slower when you talk to someone on a walk and sometimes speak faster and sometimes slower.

From the elbow
With the simple strokes, which are played at a moderate tempo as here, the movement does not come from a rotation of the forearm, at least at the beginning. The punch doesn't initially come from the wrist either (although both are possible). Later, when you play individual quick melodic sequences with a plectrum (small plastic plate), the movement by rotating your forearm or plucking with your wrist makes sense. This allows you to play very quickly but also very messily. Now for the first few chords it's important to have a clean, even beat. Therefore, the movement for the punch comes from the elbow joint. So the upper arm muscle has a lot to do. Although it is not possible to make extremely fast strokes with this movement, the strokes are much more consistent and that is what matters now.

The strokes of an experienced guitar player does not come solely from the wrist, as in plucking and fingerstyle, nor solely from a rotation of the forearm, as when playing alternate strokes with a plectrum, nor solely from the upper arm taught here, as with a simple strum pattern, but rather it is a combination from all three movements. Trust that with more routine and fluency your strokes will become more fluid, subtle and relaxed, and don't expect yourself to be able to play like a pro in the first lesson.

Der 4/4 Schlag

The strumming pattern sounds even better when played slightly offset. You try to hit the top three bass strings on the "1" and "3" and the bottom three melody or treble strings on the "2" and "4". (If you hit four strings instead of three, it won't bother anyone. The consistent up and down movement is much more important here.) Don't stop somewhere in the middle of the strings, but move your arm evenly up and down. Feel free to reach out a little further so that your arm moves up and down almost as far as the width of the guitar.

As I said, this applies to the very first few hours until the rhythm is established. When you later play individual strings (like a bass line), your strike will naturally become more subtle.

Don't be surprised if the distinction between bass and melody strings is not made when specifying different strum patterns. This is mostly due to the limited capabilities of the used software.

For the D major chord, release the E string
There is one small thing to note about the D major chord, the first chord you will learn here. The top, thick E string must not resonate. You can recognize this by the (X) in the chord diagram. The reason: The note "E" does not fit the D major chord. We don't need to be interested in what the other notes are called at the moment.

We just note that the top thick E string doesn't fit the D major chord. To do this, we strike the next two or the next three strings (as I said above, it doesn't really matter...)

We always strike "above", "below", "above", "below". 1,2,3,4.


text:
Songbook/Brother John

= Brother John =

Frère Jacques
(The accompaniment was generated automatically and is only similar to the guitar accompaniment.) (Will not be inserted into other pages)

In other languages
 Vader Jakob, Vader Jakob Slaap jy nog? Slaap jy nog? Ding dong del, ding dong del.
 * Afrikaans
 * Hoor hoe lui die kerkklok :||

 Arbër vlla, Arbër vlla A po flen, a po flen? Kumbona ka ra, Kumbona ka ra Ding dang dong, Ding dang dong.
 * Albanian

 خوي حسن, خوي حسن زيد نعسو, زيد نعسو حتى يضرب ناقوسنا, حتى يضرب ناقوسنا عاد نفيقو, عاد نفيقو
 * Arabic

 Chūī hasanin, Chūī hasanin Zaīdu nʿsū, Zaīdu nʿsū Hattā īdriba nāqūsunā, Hattā īdriba nāqūsunā ʿāda nfīqū, ʿāda nfīqū

 Khou ya Hassan, khou ya Hassan, Naas mezian, naas mezian? Fiksbah bakri, fiksbah bakri Khalik men lemsah, khalik men lemsah.
 * Berber

 Сутрин рано, сутрин рано в неделя, в неделя камбаните бият, камбаните бият бим бам бум, бим бам бум.
 * Bulgarian

 Sutrin rano, sutrin rano v nedelja, v nedelja kambanite bijat, kambanite bijat bim bam bum, bim bam bum!

 Germà Jaume, germà Jaume Desperteu!, desperteu! oder (Que dormiu! Que dormiu!) Ding dang dong, ding dang dong.
 * Catalan
 * Sonen les campanes, :||

 * Chinese

 liǎng zhī lǎo hǔ, liǎng zhī lǎo hǔ pǎo dé kuài，pǎo dé kuài yì zhī méi yǒu yǎn jing，(yì zhī méi yǒu ěr duo,) yì zhī méi yǒu wěi ba, zhēn qí guài！zhēn qí guài!

 Two tigers, two tigers, running very fast, running very fast, one has no eyes, (one has no ears,) one has no tail, Very strange! Very strange!

 Bratec Martin, Bratec Martin Kaj još spiš, kaj još spiš Već ti vura tuče, već ti vura tuče Ding dang dong, ding dang dong.
 * Croatian

 Bratře Kubo, Bratře Kubo, Ještě spíš, ještě spíš? Venku slunce září, ty jsi na polštáři, vstávej již, vstávej již.
 * Czech

 Mester Jakob, Mester Jakob sover du, sover du? Bim bam bum, bim bam bum
 * Danish
 * Hører du ej klokken: :||

(Rarely: Ringe tolv, Ringe tolv.)

 Vader Jakob, vader Jakob, Slaapt gij nog, slaapt gij nog? Bim bam bom, bim bam bom.
 * Dutch
 * Alle klokken luiden, :||

 Are you sleeping? Are you sleeping? Brother John, Brother John! Ding, dang, dong. Ding, dang, dong.
 * English
 * Morning bells are ringing :||

<poem style="margin-left:2em; font-style:italic;" lang="eo"> Frat’ Jakobo, Frat’ Jakobo, Ĉu en dorm’? Ĉu en dorm’? Iru sonorigu, Iru sonorigu, Tin, tin, tin. Tin, tin, tin.
 * Esperanto

<poem style="margin-left:2em; font-style:italic;" lang="et"> Sepa poisid, sepa poisid teevad tööd, teevad tööd! päeval, ööl, päeval, ööl.
 * Estonian
 * Taovad tulist rauda, taovad tulist rauda :||

<poem style="margin-left:2em; font-style:italic;" lang="fo"> Dovni Jákup, dovni Jákup Svevur tú, svevur tú? Klokkan hon er átta, klokkan hon er átta Ding-ding-dong, ding-ding-dong.
 * Faroese

<poem style="margin-left:2em; font-style:italic;" lang="fi"> Jaakko kulta! Jaakko kulta Herää jo, herää jo Pim, pam, pom. Pim, pam, pom.
 * Finnish
 * Kellojasi soita :||

<poem style="margin-left:2em; font-style:italic;" lang="nl-BE"> Broeder Jakob, broeder Jakob, Slaapt gij nog, slaapt gij nog? Bim bam bom, bim bam bom.
 * Flemish
 * Hoort de klokken luiden, :||

<poem style="margin-left:2em; font-style:italic;" lang="fr"> Frère Jacques, Frère Jacques Dormez-vous, dormez-vous? Ding ding dong, ding ding dong.
 * French
 * Sonnez les matines, :||

<poem style="margin-left:2em; font-style:italic;"> Bruder Jakob, Bruder Jakob, Schläfst du noch? Schläfst du noch? Ding dang dong, ding dang dong.
 * German
 * Hörst du nicht die Glocken? :||

<poem style="margin-left:2em;" lang="el"> Αδελφέ Ιάκωβε, αδελφέ Ιάκωβε κοιμάσαι, κοιμάσαι σημάνετέ τον όρθρο, σημάνετέ τον όρθρο, Ντιν, ντιν, ντονγκ, ντιν, ντιν, ντονγκ,
 * Greek

<poem style="margin-left:2em; font-style:italic;" lang="el-Latn"> Adelfe Iakove, adelfe Iakove kimase, kimase simanete ton orthro, simanete ton orthro, Din, din, dong, din, din, dong

<poem style="margin-left:2em; font-style:italic;" lang="kl"> Piitaq uumaa, Piitaq uumaa Makigit, makigit, arfineq, arfineq.
 * Greenlandic
 * Sianerpaluppoq, :||

<poem style="margin-left:2em; font-style:italic;" lang="he-Latn"> Achinu Jaacov, Achinu Jaacov al tischaan, al tischaan ding dang dong, ding dang dong.
 * Hebrew
 * hapa-amon mezalzäl, :||

<poem style="margin-left:2em; font-style:italic;" lang="hu"> János bácsi, János bácsi, Keljen fel, keljen fel! Ding deng dong, ding deng dong.
 * Hungarian
 * Húzza a harangot! :||

<poem style="margin-left:2em; font-style:italic;" lang="ms"> Papa Jakob, Papa Jakob! Bangunlah, bangunlah! Hari sudah siang, hari sudah siang Ding Ding Dong, Ding Ding Dong.
 * Indonesian

or

<poem style="margin-left:2em; font-style:italic;" lang="id"> Bapak Jakob, Bapak Jakob, Masih tidur? Masih tidur? Bim, bam, bum, bim, bam, bum.
 * Dengar lonceng bunji :||

<poem style="margin-left:2em; font-style:italic;" lang="is"> Meistari Jakob, meistari Jakob! Sefur þú, sefur þú? Hvað slær klukkan, hvað slær klukkan? Hún slær þrjú, hún slær þrjú.
 * Icelandic

<poem style="margin-left:2em; font-style:italic;" lang="it"> Fra Martino, campanaro, Dormi tu? Dormi tu? Din don dan, din don dan.
 * Italian
 * Suona le campane! :||

<poem style="margin-left:2em;" lang="ja"> 眠いの？眠いの？ 起きなさい、起きなさい. 朝の鐘が、鳴っているよ. キンコンカン、キンコンカン.
 * Japanese

<poem style="margin-left:2em; font-style:italic;" lang="ja-Latn"> Nemui no? Nemui no? Okinasai, okinasai. Asa no kane ga, natte iru yo. Kin kon kan, kin kon kan.

<poem style="margin-left:2em;" lang="ko"> 우리서로 학교길에 만나면 만나면 웃는얼굴 하고 인사나눕시다 얘들아 안녕.
 * Korean

<poem style="margin-left:2em; font-style:italic;" lang="ko-Latn"> uriseoro hakkyogire mannamyeon mannamyeon unneuneolgul hago insananupssida yaedeura annyeong

<poem style="margin-left:2em; font-style:italic;" lang="ku-Latn"> Birayê keşê, Birayê keşê hîn tu raketî? hîn tu raketî? dengê zingil nakê?, dengê zingil nakê? ding ding ding, ding ding ding
 * Kurdish

<poem style="margin-left:2em; font-style:italic;" lang="la"> Quare dormis, o Iacobe, Etiam nunc, etiam nunc? Din din dan, din din dan.
 * Latin
 * Resonant campanae, :||

or

O Martine, o Martine: Surge iam! Surge iam! Pelle tu campanam! Pelle tu campanam! Din, don, dan. Din, don, dan.

<poem style="margin-left:2em; font-style:italic;" lang="lt"> Brāli Jēkab, brāli Jēkab, Celties laiks. Celties laiks. Bing bong bing, bing bong bing!
 * Latvian
 * Pulkstenis jau zvana. :||

<poem style="margin-left:2em; font-style:italic;" lang="lt"> Broli Žakai, broli Žakai, Dar miegi? Dar miegi? Din, dan, don, din, dan don!
 * Lithuanian
 * Skamba varpeliukai: :||

<poem style="margin-left:2em; font-style:italic;" lang="nb"> Fader Jakob, Fader Jakob Sover du? Sover du? Ding, Dang, Dong. Ding, Dang, Dong.
 * Norwegian (Bokmål)
 * Hører du ej klokka? :||

<poem style="margin-left:2em;" lang="fa"> برادر یعقوب، برادر یعقوب خوابیدی؟ خوابیدی؟ این صدای زنگه! این صدای زنگه دینگ دانگ دونگ، دینگ دانگ دونگ
 * Persian

<poem style="margin-left:2em; font-style:italic;" lang="pl"> Panie Janie! Panie Janie! Rano wstań! Rano wstań! Bim, bam, bom, bim, bam, bom.
 * Polish
 * Wszystkie dzwony biją, :||

<poem style="margin-left:2em; font-style:italic;" lang="pt"> Por que dormes, irmãozinho? Vem brincar, vem brincar! Ouve o sininho, longe crepitando Din din don, din din don
 * Portuguese

or

<poem style="margin-left:2em; font-style:italic;" lang="pt"> Irmão Jorge, irmão Jorge, dormes tu, dormes tu? Já soam os sinos, já soam os sinos. Ding ding dong, ding ding dong.

<poem style="margin-left:2em; font-style:italic;" lang="ro"> Dormi întruna, dormi întruna Frate Ion, frate Ion! Este dimineaţă, clopotele sună Ding, dang, dong! Ding, dang, dong!
 * Romanian

or

<poem style="margin-left:2em; font-style:italic;" lang="ro"> Frate Ioane, frate Ioane Dormi tu dormi, dormi tu dormi Este dimineata, clopotele suna Ding, dang dong! Ding, dang, dong!

<poem style="margin-left:2em;" lang="ru-Cyrl"> Брат Иван! Эй! Брат Иван! Эй! Спишь-ли ты? Спишь-ли ты? Динь-динь-динь, динь-динь-динь.
 * Russian
 * Звонят в колокольчик, :||

<poem style="margin-left:2em; font-style:italic;" lang="ru-Latn"> Brat Iwan! Ei! Brat Iwan! Ei! Spisch-li ty? Spisch-li ty? Din-din-din, din-din-din.
 * Swonjat w kolokoltschik, :||

or

<poem style="margin-left:2em;" lang="ru-Cyrl"> Братец Яков, Братец Яков, Что ты спишь, Что ты спишь? Дин-дон-дон, дин-дон-дон.
 * колокол уж звонит, :||

<poem style="margin-left:2em; font-style:italic;" lang="ru-Latn"> Bratez Jakow, Bratez Jakow! Tschto ty spisch, Tschto ty spisch? Din-don-don, din-don-don.
 * kolokol usch swonit, :||

<poem style="margin-left:2em; font-style:italic;" lang="sv"> Broder Jakob, Broder Jakob sover du, sover du? ding ding dong, ding ding dong.
 * Swedish
 * Hör du inte klockan, :||

<poem style="margin-left:2em; font-style:italic;" lang="gsw"> Brueder Jakob, Brueder Jakob Schlafsch du no, Schlafsch du no? Ghörsch du nid die Glogge, Ghörsch du nid die Glogge? bim bam bom, bim bam bom.
 * Swiss German

or

<poem style="margin-left:2em; font-style:italic;" lang="de-CH"> S Vreni schnagget, s Vreni schnagget S Bärgli uf, s Bärgli uf Äne wieder abe, äne wieder abe Uff em Buuch, uff em Buuch

<poem style="margin-left:2em; font-style:italic;" lang="sr-Cyrl"> Брате Јово, Брате Јово Спаваш ли, Спаваш ли? Динг данг донг. Динг данг донг.
 * Serbian
 * Зар не чујеш звона :||

<poem style="margin-left:2em; font-style:italic;" lang="sr"> Brate Jovo, brate Jovo Spavaš li, Spavaš li? Ding dang dong. Ding dang dong.
 * Zar ne čuješ zvona :||

<poem style="margin-left:2em; font-style:italic;" lang="sl"> Mojster Jaka, mojster Jaka, al'že spiš, al'že spiš, al'ne slišiš zvona, al'ne slišiš zvona, bim bam bom, bim bam bom.
 * Slovenian

<poem style="margin-left:2em; font-style:italic;" lang="so"> Mahurdeeysaa mahurdeeysaa Abowe caaqil abowe caaqil Gambaleladi subaxaa yeray Gambaleladi subaxaa yeray Din dan don din dan don
 * Somali

<poem style="margin-left:2em; font-style:italic;" lang="es"> Martinillo, martinillo ¿Dónde está, dónde está? Din, don, dan, din, don, dan.
 * Spanish
 * Toca la campana, :||

<poem style="margin-left:2em; font-style:italic;" lang="es-AR"> Fray Santiago, Fray Santiago, Duermes ya, duermes ya? Suenan las campanas, Suenan las campanas Din, don, dan; din, don, dan.
 * Spanish (Argentina)

<poem style="margin-left:2em; font-style:italic;" lang="es-PY"> Santiago, Santiago, Duermes tú, duermes tú? Tocan las campanas, Tocan las campanas Din, don, dan; din, don, dan.
 * Spanish (Paraguay)

<poem style="margin-left:2em; font-style:italic;" lang="es-VE"> La lechuza, la lechuza dice shhh, dice shhh todos calladitos, todos calladitos a dormir, a dormir
 * Spanish (Venezuela)

<poem style="margin-left:2em; font-style:italic;" lang="sw"> Kaka Johni, kaka Johni, unalala, unalala? Husikii kengele, husikii kengele, din, din, don, din, din, don.
 * Swahili

<poem style="margin-left:2em;" lang="ta"> சின்னத் தம்பி, சின்னத் தம்பி, நித்திரையோ? நித்திரையோ? டிங் டிங் டாங், டிங் டிங் டாங்.
 * Tamil
 * மணி அடிக்கிது! மணி அடிக்கிது! :||

<poem style="margin-left:2em; font-style:italic;" lang="ta-Latn"> Chinna Thambi, Chinna Thambi, Nithiraiyo? Nithiraiyo? Ding ding dong, ding ding dong.
 * Mani adikithu! :||

<poem style="margin-left:2em; font-style:italic;" lang="tr"> Tembel çocuk, tembel çocuk, Haydi kalk, haydi kalk! İşte sabah oldu, işte sabah oldu, Gün doğdu, gün doğdu.
 * Turkish

<poem style="margin-left:2em;" lang="uk-Cyrl"> Брате Яків, брате Яків, Чи ти спиш, чи ти спиш, Чи ти чуєш дзвони? Чи ти чуєш дзвони? Дзень-дзелень, Дзень-дзелень.
 * Ukrainian

<poem style="margin-left:2em; font-style:italic;" lang="uk-Latn"> Brate Jakiw, brate Jakiw, Tschy ty spysch, tschy ty spysch, Tschy ty tschujesch dswony? Tschy ty tschujesch dswony? Dsen-dselen, Dsen-dselen.

<poem style="margin-left:2em; font-style:italic;" lang="vi"> Kìa con bướm vàng, kìa con bướm vàng. Xòe đôi cánh, xòe đôi cánh. Bướm bướm bay lên ba vòng, bướm bướm bay lên ba vòng. Em ngồi xem, em ngồi xem.
 * Vietnamese

title: Songbook/Brother John


text: Talk:"Hello world!"

title: Talk:"Hello world!"


text:
User talk:2001:44C8:450B:9977:9C6F:BEFF:FEB3:8D32

April 2024
MathXplore (discuss • contribs) 11:25, 8 April 2024 (UTC)


text:
Guitar/Forming the D chord

 * Original page translated by Google

= Basic information about playing chords = There is more than one way to form the chords, set the fingerings and determine the tones. Here I will introduce you to a method that is particularly suitable for simple chords in song accompaniment. The goal is to be able to grip all the handles comfortably and with little effort. A position that is as natural as possible makes your fingers more flexible and prevents cramps. Pay attention to the way you finger chords in future lessons. Experience shows that what is presented here in the first lesson are the mistakes that are most often corrected in the first month.

Position of the thumb
For simple chords, the thumb is opposite the middle finger, approximately at the height shown. In practical terms, this means that your thumb is always behind the second fret for the first time. This makes it easier for fingerings that extend over three frets to get the index finger into the first fret, the middle finger into the second fret and the ring finger into the third (see C major chord in the 3rd lesson). If the thumb is too far towards the head, you can no longer reach the 3rd fret with your ring finger and little finger. However, if the thumb is too far towards the sound hole, the index finger tends to slip from the first to the second fret.

The left hand only touches the fingerboard at two points, so the palm remains mobile.
 * [[file:Guitar-hand_on_the_neck.svg]] [[file:Guitar-contact_points_on_the_neck.svg]] [[file:Guitar-palm_do_not_touch_the_neck.svg]]

 * The first three chords D, A and G
 * [[file:Chord D.jpg|200px]] [[file:Chord D to boddy.jpg|100px]]
 * [[file:Chord A.jpg|200px]] [[file:Chord A to boddy.jpg|100px]]
 * [[file:Chord G.jpg|200px]] [[file:Chord G to boddy.jpg|100px]]

The main job of the thumb is to keep the hand from falling. This may sound obvious, but many beginners use their thumb like a vise to create counter pressure against their fingers. This works, but the thumb is actually too weak and tires quickly. Then your hand cramps and playing is no longer fun.

The solution? The pressure on the strings is not created by the thumb, but by the pull of the arm; almost like you want to open a drawer:
 * [[file:Guitar-like_opening_a_drawer.svg]] [[file:Chord D to neck.jpg|100px]] [[file:Chord G to neck.jpg|100px]]
 * In the photos, pay attention to how much space is between the palm and the fingerboard.

In this position the wrist is not (or only slightly) bent. Without going into too much detail about the anatomy of the hand, you should know that the tendons of your fingers are held together by ligaments at the wrist. If the hand is bent, the tendons of the fingers rub against these ligaments. In the short term this isn't a big problem, but in the long run it can lead to inflammation, which could be avoided if you don't bend the wrist unnecessarily.

By the way, the counter pressure is created with the elbows of the playing hand by pressing the guitar body a little bit and thus pushing the fingerboard slightly forward. The fretting hand only needs to pull back the fingerboard and thus generate enough force to grasp the chords. It should be clear that you should not rest the elbow of the gripper arm on your stomach, but should hold it loosely at your side; otherwise it will be difficult to pull the fingerboard back.

Any tension or tension in the palm of your hand is a sign that you are tensing more muscles than necessary. Of course, you shouldn't pull on the guitar neck so hard that it changes the tone. Much less force is required for gripping than you think. The goal is to apply as little pressure as possible, but just enough so that the strings don't buzz. If the hand does not tense up, the fingers will become much looser and therefore faster for changing grips (and later for solo playing).

Many students find it hard to believe that they have more than enough finger strength to play the chords cleanly, and that the main problem is the unfamiliar position of the fingers.

Exercise
Even if you can hardly do without your thumb when changing grips (just because of the orientation), it is a good exercise to try out playing the first grips without your thumb.

To practice, first finger the chord with your thumb, as usual. But then, when the chord sounds good, you take your thumb away while playing. The chord should sound full and flawless even without the thumb. Of course, the next time you change chords, the thumb is added again.

Getting a clean fingering and realizing that the thumb doesn't have to build up a lot of pressure to make the chord sound. If you realize that the chord also sounds without the thumb, you can do without a "clamp grip". The fingers find their position even without cramped gripping. Without a thumb, they may need to adopt a different posture to achieve their goal. These positions are often more comfortable or open up new posture options for the guitarist that he would never have thought of with his thumb. Unfortunately, a tense posture already works somehow, so you don't think that there is an easier way.
 * Goal of this exercise

It takes a bit of practice to figure out how much pressure is needed to push a string down. At first you almost always push too hard.

Of course, the fingering shown here is not the only possible one. Later (on the Rock Diploma) you will learn additional fingering techniques for the barre chords, where you place your thumb a little lower and apply a little more counter pressure than with the simple chords. You also like to hold your thumb a little lower when plucking and playing solo because it gives you more flexibility. But we'll save that until then. Teachers who first teach classical guitar, including reading music, often frown upon placing the thumb in the upper neck area. But a high thumb base is only really unfavorable if it impairs the reach of the fingers (especially the 4th finger). For the first few simple chords, you can choose the convenient way that you can always fall back on when you want to relax your fingers a little after a strenuous solo.

Further information

 * see: Google Translation of this page.

Where to put your fingers?
If you experiment a little, you will notice that the strings buzz every now and then. The fingers apply enough pressure, but they are too close or too far away from the waistband.

If a finger is too far away from the fret, there will not be enough pressure to push the string all the way onto the fret. The string then does not rest properly on the fret and buzzes. A common reason for this error: the thumb is too far towards the bridge and no longer above the second fret. The ring finger in particular no longer reaches the third fret. Try to remember this when you have trouble reaching the third fret with your ring finger on the C major chord.

The optimal position is just before the fret. So, if possible, try to keep your fingers in the last third of the band. You won't always be able to do this because you still need space for the other fingers (you'll notice this at the latest when you play the A major chord...). Still, try to get as close to the frets as possible.

Of course, you can't be 'tooc close to the fret, otherwise you'll accidentally push the string onto the fret after that. A common reason for this error: the thumb is not over the second fret, but rather in the third (see above).

 * By the way:The name "fret" (waistband) comes from the fact that in the past you actually "tied" a cord, wire or something similar around the fretboard to mark the correct distances.

Don't stall strings
Don't worry if everything doesn't work out right away. During the first few exercises it can sound a little off (if you don't make any serious mistakes), and you can ignore that. Experience has shown that such errors disappear after a few lessons.
 * [[file:Guitar-hammer-pose_of_the_finger.svg]]

From the beginning, try to touch the strings of the guitar only with your fingertips (as in the first illustration). The finger lies like a hammer on the string. The second illustration shows the finger "choking off" the adjacent string. In addition, such a posture damages the finger joints. To protect your joints, you should avoid flexing your fingers if possible.

Look again at the photos of the handles. The fingers do not come vertically from below, but rather at a slight angle from the bottom left (as seen from the guitarist). This creates a little more space to the neighboring string.

Avoid spreading your fingers unnecessarily
Try to keep your fingers straight as much as possible. This means: keep your fingers closed as much as possible when gripping.

Any spread of the fingers leads to cramps, which are avoidable.

The first chord for the first song
You can reach most positions on the fretboard by simply stretching and bending your fingers.

Most chords can be played comfortably. As described above, the palm of the hand should remain movable and not stick to the neck of the guitar.

title: Guitar/Forming the D chord


text:
Guitar/song examples/Campfire Diploma/Brother Jakob

Insert from Songbook/Brother John where you can find a few more verses in other languages.


text:
Guitar/The four quarters strumming patterns/Song Examples

D major chord and 4/4 strumming pattern

 * Brother Jakob


text:
OpenSCAD User Manual/WIP/Roof

generates a chamfer of 45° over 2D child polygons. It is constructed via voronoi or straight point mesh generation.

roof(method = ["straight" | "voronoi"], convexity = N) { children };

 *  parameters:

 * method
 * "straight" or "voronoi". The "voronoi" (default) setting produces rounded curves where the polygon corners are concave. For convex polygons, there is no difference between "straight" and "voronoi".
 * convexity
 * Integer. The convexity parameter specifies the maximum number of faces a ray intersecting the object might penetrate. This parameter is needed only for correct display of the object in OpenCSG preview mode. It has no effect on the polyhedron rendering. For display problems, setting it to 10 should work fine for most cases.

default values: roof square(10); yields: roof(method = "voronoi", convexity = 1) square(10);

Example: beveled text

$fa=1; $fs=0.4; intersection { cube([100,100,2],true); scale([1,1,3]) roof(convexity=6) text("Wow"); }

title: OpenSCAD User Manual/WIP/Roof


text:
Guitar/Chord changes from D to A

Original page translated by Google

= The change of fingering from D major to A major = The first change of chords

Here I'll show you in slow motion how to change from D to A. Try to follow the sequence exactly. What seems slow to you now will become incredibly fast over time. Just by singing the examples you will practice the correct movement sequence over and over again and your fingers will get used to the position.

The first few chord changes are not extremely fast. Speed takes time and comes with practice. Note that it would be much easier and faster if a teacher showed you everything and you didn't have to read everything.

It is more important to be able to play the chord changes than to be able to play the individual chords. You will then learn the chords automatically.

The change of fingering from A major to D major
Now the whole thing goes backwards.

Finally
I repeat myself again:

At first, everything is practiced veeeeery slooooowly! Only gradually can you get faster with the changes. It is important to change correctly, i.e. in the right order. The aim is for the fingers to then be placed smoothly on the fingerboard. If you "just" place your fingers on the fingerboard, you run the risk of placing the fingers one at a time, with each finger still having to find its place. It is then not a smooth movement, but three choppy movements that take much more time.

Imagine the flow of the movement!

The whole thing looks something like this:

What today happens slowly, one after the other, will soon solidify, so that the fingers know their position so well that they can sort themselves out in the air. After a few weeks, the fingers know the position they should take so well that when making small or large chord jumps (D-A; C-D / G-Am; Em-D) you can put all your fingers down at the same time without even looking at the fretboard.

Of course, the fingers are sorted then too, but that happens in the air. You do exactly the same movement sequence that you are learning here in slow motion.

It will take a little while before you can play pieces that require extremely fast fingering changes. But there is still time for that. For the first strumming patterns, where you always switch back and forth between the bass string and the melody strings, it is perfectly sufficient to take care of the fingers of the top three bass strings first. Because they are struck first. The fingers of the melody strings therefore have a little bit of time.

You don't even need to think about it too much, because it happens automatically. Take your time and don't develop false ambition. That would simply be out of place here. In traffic, too, you often shift down a gear before overtaking.

"All fingers at the same time" is not a goal for the first 6 lessons of the Campfire Diploma. You will learn that a little later. And with the right finger switching, it almost happens automatically.

Fingering
Pay attention to the position of your middle and ring fingers! One position or the other will appear again and again in the next 6 chords for the “Campfire Diploma” and in 3 chords for the “Folk Diploma”. It is worth paying attention.

Pay attention to the opening
In many songs, you don't start with the beat pattern right from the first word. Look at the song sheets to see where the first chord is. It is the first word that is given more emphasis in terms of rhythm. The words before the first "1" are called the upbeat.
 * He's got the world in his hand...
 * I in the morning when the world was young...

title: Guitar/Chord changes from D to A


text:
Guitar/Chord changes from D to A/Song Examples

(1) Chord changes from D to A and 4/4-strumming patterns

 * Play a chord for one bar
 * A '-' means play the chord for another bar
 * means easy song for practicing.

 * 1) He's got the whole world
 * 2)  Rock My Soul more examples
 * 3)   A - D -
 * 4)   D - - A, A - - D
 * 5)   D - - A, A - - D
 * 6)    D D A A | D D A D | D D D A | D D A D
 * 7)   D- A--- D-
 * 8)   D - - -, A - - -,  - - D -
 * 1)    D D A A | D D A D | D D D A | D D A D
 * 2)   D- A--- D-
 * 3)   D - - -, A - - -,  - - D -


text:
Guitar/song examples/Campfire Diploma/He's got the whole world

Insert from Songbook/He's got the whole world


text:
Songbook/He's got the whole world

= He's Got the Whole World in His Hands = (Die Begleitung wurde automatisch erzeugt und ist der Gitarrenbegleitung nur ähnlich.) He's got the whole world in His hands, He's got the whole world in His hands, He's got the whole world in His hands, He's got the whole world in His hands.

He's got my brothers and my sisters in His hands, He's got my brothers and my sisters in His hands, He's got my brothers and my sisters in His hands, He's got the whole world in His hands.

He's got the sun and the rain in His hands, He's got the moon and the stars in His hands, He's got the wind and the clouds in His hands, He's got the whole world in His hands.

He's got the rivers and the mountains in His hands, He's got the oceans and the seas in His hands, He's got you and he's got me in His hands, He's got the whole world in His hands.

He's got everybody here in His hands, He's got everybody there in His hands, He's got everybody everywhere in His hands, He's got the whole world in His hands.

title: Songbook/He's got the whole world


text:
Guitar/song examples/Campfire Diploma/Rock My Soul

Insert from: Songbook/Rock My Soul


text:
Songbook/Rock My Soul

= Rock my Soul =

Abraham's bosom alludes to "The parable of the rich man and Lazarus"; a biblical story from the New Testament. (see ) Only children are actually allowed to sit on the lap of a grandfather (symbolic of Abraham's forefather). And then it is usually the grandchildren and close relatives who enjoy a close relationship of trust. The song thus expresses the deep desire to experience such trust in God for oneself.

There is hardly a gospel choir that does not have this song in its repertoire. The text is so easy that the audience can sing along immediately. This gospel has been covered very often. To name just a few: Golden Gate Quartet (1938), Les Humphries Singers, Peter, Paul & Mary, Louis Armstrong, Nana Mouskouri, Elvis Presley and many more.

(The accompaniment was generated automatically and is only similar to the guitar accompaniment.)

 * Verse 1
 * Rock my soul in the bosom of Abraham, Rock my soul in the bosom of Abraham,
 * Rock my soul in the bosom of Abraham, oh rock mysoul.

 * Verse 2
 * Sohigh, you can't get over it, solow, you can't get under it,
 * sowide, you can't get round of it, oh rock mysoul.

Rock - my -  soul -  Rock -  my -  soul Rock - my -  soul -  oh rock mysoul.
 * Verse 3

Rock my Soul

 * Verse 1
 * Rock my soul in the bosom of Abraham, Rock my soul in the bosom of Abraham,
 * Rock my soul in the bosom of Abraham, oh rock mysoul.

 * Verse 2
 * Sohigh, you can't get over it, solow, you can't get under it,
 * sowide, you can't get round of it, oh rock mysoul.

Rock - my -  soul -  Rock -  my -  soul Rock - my -  soul -  oh rock mysoul.
 * Verse 3

title: Songbook/Rock My Soul


text:
Guitar/Song Examples/Campfire Diploma

=Song Examples for the Campfire Diploma=

title: Guitar/Song Examples/Campfire Diploma


text:
User:Arlo Barnes/common.css

@import "https://en.wikipedia.org/w/index.php?title=MediaWiki:Gadget-dark-mode.css&action=raw&ctype=text/css";

title: User:Arlo Barnes/common.css


text:
Chess Opening Theory/1. e4/1...e5/2. Nf3/2...Nc6/3. c3/3...d5

3.d5
This move takes advantage of White playing c3. After the natural exd5?! Qxd5, White cannot play the usual Nc3 attacking the queen as the c3 square is occupied by the pawn.

Because of this, White's best option is Qa4!, pinning the c6 knight and threatening Nxe5 next move.

This is the theoretically best response to the Ponziani Opening, scoring the best in databases and being most chess engines' preferred move. It is also the second most common response to the Ponziani by masters, behind the Jaenisch Counterattack with 3.Nf6.

Theory Table
'''1. e4 e5 2. Nf3 Nc6 3. c3 d5'''


text:
User talk:2600:6C4E:17F:DF8A:2565:D811:6290:47DD

April 2024
MathXplore (discuss • contribs) 02:02, 10 April 2024 (UTC)


text: Category:Coconut oil recipes

title: Category:Coconut oil recipes


text:
Number Theory/Powers modulo 11

The following table shows the powers of integers modulo 11.

title: Number Theory/Powers modulo 11


text: Category:Coconut cream recipes

title: Category:Coconut cream recipes


text:
Chess Opening Theory/1. e4/1...e5/2. Nf3/2...Nc6/3. c3/3...Nf6

= Ponziani Opening, Jaenisch Counterattack =

3. Nf6
The point of this defense is to create an attack on e4 and white cannot defend this pawn with Nc3 because c3 pawn and Nd2 because d2 pawn.


text:
User:Jfw01

I have not edited wikibook content yet.

Problems like me, and I wished to comment on, and keep traceable my comments on, the AI policy.

I came to wikibooks because it hosts the manual for OpenSCAD.

Jfw01 (discuss • contribs) 22:55, 10 April 2024 (UTC)

title: User:Jfw01


text:
Chatbots For Social Change/Theory of Conversation/Talking to Strangers

Gladwell, M. (2021). Talking to strangers: What we should know about the people we don’t know (First Back Bay trade paperback edition). Back Bay Books.

Introduction
The idea would be to build to a full and convincing explanation of the extent to which miscommunication negatively impacts our collective lives. In ideal form, it would include:

 * Tons of examples, good fodder for motivating the book as a whole.
 * A clear description of communication, understanding, mediation, translation.
 * The potential power of an intermediary, drawing from original older writings.

This may serve as a good very first chapter to the section Conversation.

Defining "Clear Conversation"
We can break conversation down into a few fundamental pieces. For instance, the signs and symbols exchanged, the manner in which they are expressed, the speaker, and the listener.

We also want to be able to talk about "communication" being successful. Because this word in English has several related definitions we need to be specific about what we mean. I am interested in the context of Chatbots for Social Change in clear communication in particular, admittedly dropping out all the vagaries of much of conversation. This chapter will deal with one person A intentionally and successfully updating person B's knowledge using language. If time were paused after the statement and we could ask A and B a dozen questions about the last statement made, they would be capable of reflecting consistently with each other. Indeed, when a statement B's mind they might be doing this themselves, asking questions to themselves and to A. There are some examples in which we might test the listener's understanding through simply watching their behavior. For instance, if they arrive to an appointment they made on time, you can be pretty sure the statements surrounding it were understood to some extent. Yet one of the best ways to know if the listener understood is to ask questions. People often ask questions in normal conversation when they believe they don't understand what their conversation partner is trying to say. It is through this practice that we become better at communicating to each other, and produce clear commonly held understandings.

For anything to be effectively communicated, the speaker and listener must have some shared language. That is, some overlap between the strategies for (re-)presentation of the speaker, and for interpretation by the listener. We may consider communication successful when the listener grasps the meaning intended by the speaker.

Commonly held? One way to define a group of people holding the same understandings is their ability to pass "understanding tests." This definition may seem strange, but it is directly parallel to how the people themselves define it -- through common answers to certain kinds of questions about what was said, or what they believe.

Of course, sometimes people will forego being understood in communication. When someone asks for my name at Starbucks, I say "Alec," and they respond, "Alex?," I will 99% of the time nod my head yes. I've not had my coffee, I like both names equally. It's not worth the effort for me to clarify because I haven't had my coffee yet, and it would result in a slight inconvenience at no benefit.

Other times people will forego understanding.

But most of the time, people forego communication at all. Communication not always easy, especially with strangers. It takes time and patience to craft sentences of a textbook, and interacting meaningfully with a stranger requires attention, creativity, and interest.

Humans have a fallback in lightweight interaction with some formulaic style, i.e. "small-talk". This makes communication with strangers easier.

Conversations with a limited or pre-described context, or which have already happened many times before, are spaces where our muscle-memory can kick in and enable near-effortless communication.

Successfully communicating is also much easier for people you talk to all the time. At the extreme, the smallest behavior can communicate complex concepts, enabling communication of information without any intent by either party.

Speaking across social distance is always an attempt at translation. The more local the person, and so the more familiar to you, the more shorthand can be employed, and the more can be effectively said in a short time. What makes talking to strangers, as Gladwell beautifully illustrates, so difficult? This will be the topic of the present chapter.


text:
A-level Mathematics/CCEA

CCEA is the awarding organization based in Northern Ireland, offering A-level Mathematics as one of its many subjects. A-Level Mathematics is split into 3 sections:

 * 1) Pure Mathematics
 * 2) Mechanics
 * 3) Stats

title: A-level Mathematics/CCEA


text:
User talk:2605:BA00:A128:697:188B:B914:6EFB:58C3

April 2024
MathXplore (discuss • contribs) 14:06, 11 April 2024 (UTC)


text:
User talk:2001:16A2:C0CF:FA49:C46C:91CA:C99D:51E8

April 2024
MathXplore (discuss • contribs) 14:12, 11 April 2024 (UTC)


text: User:Rodejong/Navigation

title: User:Rodejong/Navigation


text:
User talk:Rodejong

=Do not alter the above navi=

Tried to notify a user on their talk page.
@User:Kittycataclysm
 * I was trying to notify you, that the impersonator at Miraheze now has been globally locked, but what ever message I try to send, the message is blocked by Operator873's Filter. - The message is:
 * I am a MH Volunteer. FYI, this user requested a new wiki, Global permissions and Stewardship within a day. And He/She referred to this account. So by coincident Xeverything11 confirmed my suspicion.

Said user account is now globally locked. I hope this takes away the awkward feeling it must give to have an imposter using your on-wiki presence. Kind regards, Rodejong (discuss • contribs) 14:55, 11 April 2024 (UTC)

 * Hi @Rodejong, and thank you very much for the heads-up! I'm not sure why you were blocked by the edit filter. Cheers —Kittycataclysm (discuss • contribs) 18:30, 11 April 2024 (UTC)

title: User talk:Rodejong


text: User:Rodejong

title: User:Rodejong


text:
User talk:143.44.156.249

April 2024
MathXplore (discuss • contribs) 15:20, 11 April 2024 (UTC)

title: User talk:143.44.156.249


text:
Minecraft/Target Block

Use
The target block has a number of uses, related to redstone.
 * 1) Redstone emmiter: A target block can be used to power redstone, the intensity of the power output depends on how close to the center you shoot with an arrow or other projectile.
 * 2) Redirecting redstone (tecnical use): The target block can also be used to redirect redstone.

title: Minecraft/Target Block