text:
Talk:Molecular Simulation/Quadrupole-Quadrupole Interactions

a constant factor
my books (a photocopy of an old article on J. Chem. Ed.; unfortunately I am aged and I have no more access to the library of the site where I worked) differ by a constant factor. I feel that there might be a difference in the definition of multipole moment (in the 1990s I had troubles of this kind in reconciling data from two different sources). An explicit definition might be useful. pietro 151.29.78.113 (discuss) 06:48, 28 April 2024 (UTC)

 * The statement that the quadrupole moment of benzene arises from the pi-bonds seems to me rather misleading, because recalls the image that the pi-orbitals amplitude changes sign on the two sides of the molecular plane. I feel best to say that is due to the fact that the outer ring (H) is + and the inner (C) is -. pietro 151.29.78.113 (discuss) 08:51, 28 April 2024 (UTC)
 * There is also a mu instead of theta in the charge-quadrupole interaction.


text:
Chess Opening Theory/1. e4/1...e5/2. Qh5/2...Nf6

2...Nf6
This move prevents Scholar's Mate by attacking the queen, forcing it to move away from the diagonal. While it sacrifices a pawn (White can take the e-pawn with 3. Qxe5+), it gives Black a lead in development.

Though 2...Nc6 is considered more solid, this variation is still playable. Because White's bishop has not been moved yet, checkmate is not possible. Even if the queen moves to f3, there is no checkmate threat, as the knight is in the way. Also, unlike 2...g6??, the rook is not blundered, as the knight and g-pawn are in the way.

The best continuation is /3. Qxe5/+ Be7.

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


text:
OpenSSH/Cookbook/The Client Configuration File

SSH Client Configuration Files
Use of the client configuration file, ssh_config(5), is perhaps the most underrated and unrecognized feature, despite its great utility and flexibility. The configuration file can be used to create shortcuts for specific systems or scenarios by applying designated settings. The client, ssh(1), prioritizes settings applied at the command-line as run-time options. Then the settings from user's own configuration file, usually ~/.ssh/config, are applied. Then, finally, global client settings are applied, usually fron the system-wide configuration file, /etc/ssh/ssh_config, if it exits. So as mentioned in the chapter on Client Configuration Files, the prioritization is as follows:

 * 1) run time arguments via the shell
 * 2) user's own configuration
 * 3) system-wide configuration

Even within the user's configuration file and the system's global configuration file, the first match is applied. Therefore specific configurations must always go towards the beginning of the file and more general settings towards the end.

Basics of SSH Client Configuration
Each stanza in the configuration file begins with either a Host or Match directive. The directives within the stanza are then applied, if relevant. More on Match later. Below two hosts are each set up with their own shortcuts using a basic Host directive. The settings for the two hosts are followed by a two more general stanzas applicable to two whole domains. Lastly is a stanza with applying IdentitiesOnly to all outgoing connections.

The specific configurations are first and get more general until the end where IdentitiesOnly gets applied to all outgoing sessions. Hosts in the example.org domain use the default SSH port of 22, while that is overridden for those in the example.com domain which uses port 2022 instead. Keys are automatically added to the agent when used with the example.org domain but not with the example.com domain.

The first host can be reached with  and the second host with. In general, it is a good idea to set IdentitiesOnly so that only the one designated key is tried when authenticating. Otherwise, the keys are tried in whatever order they might be found in the agent which can be unpredictable. The result without IdentitiesOnly can be that the connection gets blocked from having too many failed logins attempts before the right key even gets tried.

Multiple Shortcuts
Each stanza can have multiple shortcuts.

Above, the same host can be reached with,  , or.

Different Keys for Different Accounts on the Same Systems
Sometime it is necessary to access multiple accounts on the same remote system, each with a separate key. The Match block in ssh_config(5) can pair each account with its corresponding key.

Above, different keys are applied to the same remote host depending on which of the three accounts is used.

Automatically Fire Up Local VNC After Establishing A Tunnel
The LocalCommand directive can launch a local program upon successful authentication. If that is combined with other directives, there are a lot of possibilities. Here once a VNC tunnel gets established, the client is connected to it.

The LocalForward creates the tunnel, while the PermitLocalCommand and LocalCommand connects the client to the tunnel once the tunnel is complete. Should the tunnel fail, ExitOnForwareFailure ensures that the SSH session ends so that the failure can be properly investigated rather than the client connected to nothing.

VNC Through A Jointly Accessible External Host - Approach One
Networking through one or more layers of NAT can be a problem That is especially the case as Carrier Grade NAT becomes more common in the legacy IPv4 networks provided by an increasing number of service providers. It is possible to connect two endpoints via a publicly accessible third machine on common ground. If there are three systems, A, B, and C, where A needs to connect to C, neither A nor C can connect directly to the other yet both can reach host B, then it is possible to make a tunnel via B if both A and C can reach it. Both A and C need to have working accounts on C, even if just for forwarding. Full shell access is not required.

On host B, accounts are needed for C and A.

On host C:

Start the VNC server and then have the system establish an SSH connection to host B with. The configuration of host B really needs no modification, unless if the key for the tunnel should be locked down or other restrictions desired.

On host A:

Start the SSH connection by entering  and Remmina will connect automatically to host C via the tunnel on Host C.

System-wide Client Defaults
The system-wide client configuration file, /etc/ssh/sshd_config, is a convenient way to provide what are effectively new, local default settings. As mentioned many times, configuration options are applied with a first match priority therefore any system-wide, global options should be a general as possible. System-wide defaults shine when customizing the local environment, including LAN access be means such as Kerberos authentication or even Host-based Authentication, the latter is covered in its own chapter.

The above allows host-based authentication for a specific subnet. It also sets IdentitiesOnly globally.

The above sets system-wide options for all systems in the pool.example.org domain, such that Kerberos authentication is possible.

The manual page for ssh_config(5) has a section on "tokens" which can be used in the stanzas in place of system information, such as the remote host name, the remote account name, or the local account name, to name just a few. These are useful when setting the system-wide client configuration file in /etc/ssh/ssh_config or /etc/ssh/ssh_config.d/* for all local accounts.

Tokens
Some client configuration directives can make use of tokens to stand in for certain values, as determined at run time.

LocalCommand accepts all tokens.

Hostname accepts the tokens %% and %h.

ProxyCommand and ProxyJump accept the tokens %%, %h, %n, %p, and %r.

CertificateFile, ControlPath, IdentityAgent, IdentityFile, KnownHostsCommand, LocalForward, Match exec, RemoteCommand, RemoteForward, RevokedHostKeys, and UserKnownHostsFile accept the tokens %%, %C, %d, %h, %i, %j, %k, %L, %l, %n, %p, %r, and %u.

KnownHostsCommand additionally accepts the tokens %%, %C, %d, %f, %H, %h, %I, %i, %j, %K, %k, %L, %l, %n, %p, %r, %t, and %u,

The client tokens are described as follows, and are somewhat different from the tokens used in server configuration:

As always, check ssh_config(5) on the systems in question to known what actually supported by the installed version of OpenSSH.


text:
User:Kapembwa Mulenga 6 6 6 6

My Name Is Kapembwa Mulenga

title: User:Kapembwa Mulenga 6 6 6 6


text:
Wikibooks:Reading room/Administrative Assistance/Archives/2024/March

Special:Contributions/NitinLawrence
Self-ad only account. Please take care of their creations. MathXplore (discuss • contribs) 04:15, 8 March 2024 (UTC)

 * ✅ by . --SHB2000 (discuss • contribs) 08:51, 8 March 2024 (UTC)

User talk:Nallas Corporation
I found username issues at here (corporate username, implies role account). Should we warn them to rename? MathXplore (discuss • contribs) 10:53, 11 March 2024 (UTC)

 * ✅ as a spam-only account. --SHB2000 (discuss • contribs) 20:52, 11 March 2024 (UTC)
 * The account in question is now globally locked. --SHB2000 (discuss • contribs) 21:07, 11 March 2024 (UTC)

Vandalism-only account. Codename Noreste (discuss • contribs) 22:19, 14 March 2024 (UTC)

 * Blocked—thank you! —Kittycataclysm (discuss • contribs) 00:08, 15 March 2024 (UTC)
 * The account in question is now globally locked. --SHB2000 (discuss • contribs) 11:46, 15 March 2024 (UTC)

QU EST-CE QU UN DJINN AMOUREUX
An IP editor is using a different language here. Since the removal of the SD tag has been repeated, I am forwarding the request here. MathXplore (discuss • contribs) 08:40, 22 March 2024 (UTC)

 * ✅ deleted—thank you! —Kittycataclysm (discuss • contribs) 12:07, 22 March 2024 (UTC)


text:
Chess Opening Theory/1. e4/1...c6/2. Bc4

2.Bc4?!
Black will almost certainly play /2...d5/. Since Black's d5 pawn is defended by both the c-pawn and the queen, White's bishop will be forced to move away, either on the following turn or after 3. exd5 cxd5.


text:
Chess Opening Theory/1. e4/1...c6/2. Bc4/2...d5

2...d5
White has two options:

3. exd5 cxd5 is the more common move in the Lichess database. However, after the pawn trade, White will be down a tempo and a center pawn with little to show for it. 4. Bb5+ can be blocked by the opposing bishop, and if White trades, Black is comfortable. 4. Bb3 keeps a bishop on the f7 diagonal, but does not challenge much.

/3. Bb3/ gambits White's e4 pawn in order to gain a tricky, if somewhat dubious, attack. Note that after 3...dxe4 4. Qh5, Scholar's Mate is not threatened yet (after, say, 4...Nf6?! 5. Qxf7+, the king can move to d6), though the f7 pawn is still vulnerable.

Any other move loses the bishop or makes the initial 2. Bc4 a waste of time.


text:
User talk:173.225.242.144

April 2024
MathXplore (discuss • contribs) 14:26, 28 April 2024 (UTC)

title: User talk:173.225.242.144


text:
EverQuest/Strategies/Root Rotting

Root Rotting is a technique used by classes who get the Root line of spells. Basically, you root the monster, rendering it immobile and then proceed to damage it via spells. This is most effective with damage over time spells (DoTs) rather than direct damage spells, as DD spells tend to break the root and the monster will come running to kill you. If that happens, you cast your root spell again and continue to do damage until the monster is dead.

Handy spells to use in conjunction with root rotting are snare spells and slowing spells. Snares reduce the movement rate of the monster. These are helpful when the root breaks (which inevitably happens), as they slow the monster down so that you have a chance to either run away or recast your root spell. Slows are spells which increase the time in between swings that the monster takes at you ie. instead of being able to hit you once every 4 seconds (or quad you once every four seconds), he can only have a chance to hit you once every 6 seconds or 8 seconds, depending on the level of the monster and the slow. Once again, this gives you additional time to move out of the way, cast a spell or re-root the monster.

title: EverQuest/Strategies/Root Rotting


text: Category:Corn syrup recipes

title: Category:Corn syrup recipes


text: Category:Corn flake recipes

title: Category:Corn flake recipes


text:
User:Jelle Saldien

My name is Jelle Saldien. I am a passionate teacher, researcher and entrepreneur trying to use my skills, knowledge and attitude to coach, inspire and empower the people around me.

Biography
Jelle Saldien received his M.S. degree in Industrial Science ICT at DeNayer Institute (now KULeuven) in 2003 and an additional M.S. degree in Product Development at Artesis (now UAntwerpen) in 2005. In 2009, he received his Ph.D. at the Vrije Universiteit Brussel on the design and development of the social robot Probo. From 2010, he was lecturer in Industrial Design at the Howest University College West Flanders. Since 2013 he is appointed as Professor Industrial Design at Ghent University. From 2014-2017 he was research coordinator of the UGent Industrial Design Center and steering member of Flanders Make VD4. From 2018, he joined the imec-mict-ugent research group and became Principal Investigator in imec. Since 2023 he started a full-time position as professor design engineering at the department of product development at the University of Antwerp.

title: User:Jelle Saldien


text:
Chess Opening Theory/1. e4/1...c6/2. Bc4/2...d5/3. Bb3

3.Bb3
The only sensible continuation to the Hillbilly Attack, since after 3.exd5 cxd5, White ends up losing a tempo with no clear benefit. Here, White gambits the e-pawn, trying to get an attack. Black, following the ideas of the Caro-Kann, will usually take 3...dxe4, accepting the gambit.

The most common continuation after 3...dxe4 is 4. Qh5. While this threatens Scholar's Mate if Black blunders with 4...e5?? or 4...Bd7??, there is no serious threat of checkmate at present (if, say, 4...Nf6?! 5. Qxf7+, the king can move to d6). Still, it would be wise for Black to protect the f7 pawn with 4...g6 or 4...e6.

4.Nc3, attacking the e4 pawn while keeping pressure on f7, is the next most common move.


text:
Chess Opening Theory/1. e4/1...e5/2. Qh5/2...Nf6/3. Qxe5

3. Qxe5+
White captures the undefended e5 pawn and gives check. There are two ways for Black to respond: 3...Be7 or 3...Qe7?!. 3...Be7 is better, since after 4...Nc6, White will need to spend a tempo retreating the queen. 3...Qe7 allows a queen trade, meaning White no longer needs to spend the tempo retreating, thus giving back the advantage to White. After 3...Qe7 4. Qxe7 Bxe7, White is up a central pawn while Black is barely ahead in development.


text:
Cookbook:Homemade Hominy

Ingredients

 * 2 qt water
 * 1 Tbsp food-grade lye
 * 1 qt shelled corn
 * 3 tsp salt

Procedure

 * 1) Put the water into a large kettle or saucepan, and stir in the lye.
 * 2) Bring the water to a boil, and then add the corn. Let it boil until the skins will slip off the grains when they are pressed between the thumb and the finger.
 * 3) Remove from the stove, stir sufficiently to loosen the skins, and then remove them by washing the corn in a colander.
 * 4) Cover the grains with cold water and return to the fire. When the water boils, pour it off. Repeat this process at least three times, so as to make sure that there is no trace of the lye. Allow the grains to cook in more water until they burst.
 * 5) Season the corn with the salt, and while still hot put it into a jar or a crock and cover it tight until it is to be used. The water in which the hominy is cooked should remain on it.

Notes, tips, and variations

 * A safer recipe substitutes baking soda (1 tablespoon per quart of water) for lye in the first boil.

Warnings
Lye is caustic and must be handled with care! Lye may cause serious burns. Before using lye, please read the article on Sodium Hydroxide. If you decide to use lye, add it gradually to the bulk of the water while stirring to dissipate the heat of solution. See also Hominy without Lye.

title: Cookbook:Homemade Hominy


text:
Cookbook talk:Homemade Hominy

Corn variety?
What variety of corn should be used here? And should it be fresh or dried? I assume dried. —Kittycataclysm (discuss • contribs) 01:29, 29 April 2024 (UTC)

title: Cookbook talk:Homemade Hominy


text:
User:Aekrinine

You gaze upon a barren wasteland.

title: User:Aekrinine


text:
User talk:14.97.94.218

April 2024
MathXplore (discuss • contribs) 10:27, 29 April 2024 (UTC)

title: User talk:14.97.94.218


text:
Guitar/G Em C D

Original page translated by Google

= Chord change G-Em-C-D =

The Minor Parallel
The change between G major and E minor is particularly easy. By the way, memorize that E minor (written "Em" for short) is the minor parallel of G major.

In many songs you don't necessarily have to change to the minor parallel, you can simply continue to play the major chord. However, the slightly softer sounding minor chord can also replace the major chord. Minor chords are often used to make certain bars sound a little softer. It is commonly said that a minor chord sounds sad. It is true that it is relatively easy to write sad-sounding songs with minor chords, but there are also sad-sounding songs that consist mainly of major chords. Here, in most of our song examples, the minor chord serves more to build momentum for the next major chord. This allows the song to be much more spirited. Later on in the folk diploma, you will get to know songs that are written entirely in a minor key. Remember, however, that Em is the minor parallel of G major.

Chord change G - Em - G and Em - C - Em in the diagram
Even if the individual fingering changes are quite close together here, only practise the change between two chords at first. As soon as the upper half of the diagram works, you can practise the lower half. The arrows indicate two cycles, which are first practiced separately and then later one after the other.

This position of the fingers appears very often with major chords (G C F D).
 * [[Image:MR Durstellung.gif]]

This appears in Em and Am and A major.
 * [[Image:MR Mollstellung.gif]]

Chord change G-Em-C-D

 * A real Schu-bi-du-ba

Chord progression G-Em-C-D is a "16-45" in G major. To designate the chord steps in a key, simply count through the notes of the corresponding scale.
 * G=1, Am=2, Bm=3, C=4, D=5, Em=6, (F#m7/b5=7)

 * We derive the chord degrees from the G major scale.

No panic! You don't have to learn any notes here. You should only understand how the chord steps come about. This will give you at least a rough idea of what the terms are about if you come across them in a tutorial on the Internet. You will learn all the special features of scales and chord names at a later stage.

In harmony theory, the pitches are usually given in Roman numerals.

You can assign a triad or a chord to each note and thus a chord step to each chord.

The 1st degree is called the tonic (T), the 4th degree the subdominant (S) and the 5th degree the dominant (D).

The 6th degree is called the tonic parallel (t), the 2nd degree the subdominant parallel (s) and the 3rd degree the dominant parallel (d). These triads from the theory of harmony represent all the possibilities of playing a chord on the guitar.

In this way, one could play the degrees of the G major scale with simple chords.

You don't need to be interested in the unknown chords at the moment. Sooner or later you will get to know them soon enough. Today we are only interested in the first, sixth, fourth and fifth chord steps in that exact order.

or or shorter
 * I-VI-IV-V
 * 1-6-4-5
 * a 16-45 in G

So today we have learned about the tonic parallel E minor (Em) of the G major scale.

The chord progression is also called "50s progression" or "ice cream changes". Presumably because young people in the 50s liked to meet in an ice cream bar with a jukebox.

First practise the change G - Em - G. If this works smoothly, practise C - Em - C until this also works flawlessly. Then practise the complete chord progression G-Em-C-D.

Again, it makes sense to think of the ring and middle fingers as the "center of gravity" of the chord. This way, the teacher has no problem displaying the chords without having to announce them (leaving more time for singing or other corrections). G is at the top, D is at the bottom, Em is at the top right (as seen from the player) and C is somewhere in the middle (as it sometimes makes sense for C to be displayed a little to the left or a little to the right of the middle; see D C G).

The chord combination is a regular cycle that is very easy to memorize and therefore very easy to learn.
 * [[Image:GEmCDanimiert.gif]]

Audio sample

 * One chord for two bars

 * One chord per bar

title: Guitar/G Em C D


text:
Guitar/G Em C D/Song Examples

(4) G Em C D
At first, practice mainly songs with the chord combination G-Em-C-D. Especially prefer those where each chord is held for two bars. After a very short time, the change will become automatic and you can focus more on singing. The chord sequence G-Em-C-D makes the following lesson with the quick chord change easier. The other suggested songs will be for repetition later.

Accompaniment suggestion: 4/4 + campfire beat  :Original
 * 1) Spanish Lady (Irish Folk)
 * 2) Whiskey in the Jar
 * 3)  © G Em (X-x) C D ...
 * 4)  © G G Em Em; C C D D (Hymn)
 * The order of the chords remains the same, but the duration varies.
 * 1)  //: G G Em Em; C D G G ://
 * 2)  //: G G Em Em; C C D D; G G Em Em; C D(7) G G; C C G G; C C D D(7) ://
 * 3)  G G Em Em; C D G G
 * The pop formula G D Em C or Em C G D
 * 1) (Original In A = Capo 2. Fret)
 * 2)  C G D Em
 * 3)  easy:  Em C G D or  (Em G) C G D (original)
 * 4)   Em C G D (Capo = 1)
 * 5)   Em C G D
 * Compound chord progressions with G Em C D and/or G D Em C
 * 1)  © //G D Em C; G Em C D// at the end of the son(C D) G C G C
 * 2)  © G D Em C; G D C G // Em D C G; D D C G
 * 3)  ©  //: G G Em Em;  D D C G ;// G G D D;  Em Em C C; G G D D;  C C G G
 * other with Em
 * 1)  © Em G D C
 * 2)  D Em G A (Possibly with capo 2nd fret and an add an A between the verses)
 * 3)  © Em---; D D Em Em
 * 4)  © G D Em Em (Original is a semitone lower)
 * 5)  C C D D; G G Em Em (hier die höhere Version von Cher)
 * 6)  ©    //: C C D D; G G Em Em :// (instead of Bm in the original just play G)
 * 1)  © Em---; D D Em Em
 * 2)  © G D Em Em (Original is a semitone lower)
 * 3)  C C D D; G G Em Em (hier die höhere Version von Cher)
 * 4)  ©    //: C C D D; G G Em Em :// (instead of Bm in the original just play G)

.

title: Guitar/G Em C D/Song Examples


text:
User talk:Ishadel

Creating User:Ishadel

title: User talk:Ishadel


text:
Quantum Graphs/Introduction

Studying operators of Schrödinger type on metric graphs is a growing subfield of mathematical physics which is motivated both by direct applications of the graph models to physical phenomena and by use of graphs as a simpler setting in which to study complex phenomena of quantum mechanics, such as Anderson localization, universality of spectral statistics, nodal statistics, scattering and resonances, to name but a few.

The name "quantum graphs" is most likely a shortening of the title of the article "Quantum Chaos on Graphs" by Kottos and Smilansky \cite{KotSmi_prl97}. The model itself has been studied well before the name appeared, for example in \cite{Pau_jcp36,RueSch_jcp53,Rot_crasp83,Bel_laa85,Nic_incol85}.

Several reviews and monographs cover various directions within the quantum graphs research \cite{GnuSmi_ap06,Post_book12,Mugnolo_book}. However, when starting a research project with students, both (post-) graduate and undergraduate, the author felt that a more elementary introduction would be helpful. The present manuscript grew out of the same preparatory lecture repeated, at different points of time, to several students. It is basically a collection of minimal examples of quantum graphs which already exhibit behavior typical to larger graphs. We supply the examples with pointers to the more general facts and theorems. Only in the last sections we explore a research topic (the nodal statistics on graphs) in some depth.

For obvious reasons the pointers often lead to the monograph \cite{BerKuc_graphs}.

title: Quantum Graphs/Introduction


text:
Quantum Graphs/Schrodinger equation on a metric graph

Schrödinger equation on a metric graph

Consider a graph $$\Gamma=(V,E)$$, where $$V$$ is the set of vertices and $$E$$ is the set of edges. Each edge connects a pair of vertices; we allow more than one edge running between any two vertices. We also allow edges connecting vertices to themselves (loops). This freedom creates some notational difficulties, so we ask the reader to be flexible and forgiving.

Each edge $$e$$ is assigned a positive length $$L_e$$ and is thus identified with an interval $$[0, L_e]$$ (the direction is chosen arbitrarily and is irrelevant to the resulting theory). This makes $$\Gamma$$ a metric graph. Now a function on a graph is just a collection of functions defined on individual edges.

The eigenvalue equation for the Schrödinger operator is $$ \begin{aligned} -\frac{d^2f}{dx^2} + V(x)f(x) = \lambda f(x), \end{aligned} $$

which is to be satisfied on every edge, in addition to the vertex matching conditions as follows

$$ \begin{aligned} f(x) \ \text{is continuous},\\ \sum_{e \sim v} \frac{df}{dx}(v) = 0. \end{aligned} $$

The continuity means that the values at the vertex agree among all functions living on the edges attached (or incident) to the vertex. In the second condition (often called current conservation condition), the sum is over all edges attached to the vertex and the derivative are all taken in the same direction: from the vertex into the edge. A looping edge contributes two terms to the sum, one for each end of the edge.

The function $$V(x)$$ is called the electric potential but we will set it identically to zero in all of the examples below. Vertex conditions \eqref{eq:cont}-\eqref{eq:current_cons} are called \emph{Neumann conditions}\footnote{Other names present in the literature are ``Kirchhoff, ``Neumann-Kirchhoff, ``standard'', ``natural'' etc.}; they can be generalized significantly, but before we give any more theory, let us consider some examples.

Example: a trivial graph --- an interval
An interval $$[0, L]$$ is the simplest example of a graph; it has two vertices (the endpoints of the interval) and one edge. The continuity condition is empty at every vertex since there is only one edge. The current conservation condition at the vertex $$0$$ becomes

$$ \begin{aligned} f'(0) = 0, \end{aligned} $$

and at the vertex $$L$$ becomes

$$ \begin{aligned} -f'(L) = 0. \end{aligned} $$

The minus sign appeared because we agreed to direct the derivatives into the edge; of course it is redundant in this particular case.

Let $$V(x) \equiv 0$$ and consider first the positive eigenvalues, $$\lambda > 0$$. The eigenvalue equation becomes

$$ \begin{aligned} -f'' = k^2 f, \end{aligned} $$

where for convenience we substituted $$\lambda=k^2$$. This is a second order linear equation with constant coefficients which for $$k>0$$ is readily solved by

$$ \begin{aligned} f(x) = C_1 \cos(kx) + C_2 \sin(kx). \end{aligned} $$

Applying the first vertex condition $$f'(0)=0$$ we get $$C_2=0$$ and $$f(x) = C_1 \cos(kx)$$. The second vertex condition becomes

$$ \begin{aligned} C_1 k \sin(kL) = 0, \end{aligned} $$

which imposes a condition on $$k$$ but does nothing to determine $$C_1$$ (naturally we are not interested in the trivial solution $$f(x) \equiv 0$$). We thus get the \emph{eigenvalues} $$\lambda = k^2 = \left(\pi n/L\right)^2$$, $$n=1,2,\ldots$$ with the corresponding eigenfunctions $$f(x) = \cos\left(\pi n x/L\right)$$ defined up to an overall constant multiplier (as befits eigenvectors and eigenfunctions).

There is one other eigenvalue in the spectrum that we missed: $$\lambda=0$$ with the eigenfunction $$f(x) \equiv 1$$. While this agrees with the above formulas with $$n=0$$, the premise of equation (\ref{eq:f_solution}) is no longer correct when $$\lambda=0$$.

Exercise 1
Solve the eigenvalue equation with $$\lambda < 0$$ and show that the vertex conditions \eqref{eq:NC1} and \eqref{eq:NC2} are never satisfied simultaneously (ignore the trivial solution $$f(x)\equiv 0$$).

Exercise 2
Integrate by parts the scalar product

$$ \begin{aligned} \left\langle f, -f'' \right\rangle = \int_0^L \cc{f(x)} \left(-f''(x)\right) dx, \end{aligned} $$

to obtain an expression that is obviously non-negative, and thus show that it is not necessary to solve \eqref{eq:eig_eq_V0} to conclude that there are no negative eigenvalues.

We did not try to look for complex eigenvalues. This is because the Schrödinger operator we defined is self-adjoint (see Thm 1.4.4 of \cite{BerKuc_graphs}) and therefore has real spectrum. The spectrum in the above example is discrete: all eigenvalues are isolated and of finite multiplicity. This is true for any graph which is compact (has finitely many edges, all of which have finite length), see Thm 3.1.1 of \cite{BerKuc_graphs}. The proof outlined in Exercise~\ref{hw:nonneg} works for general graphs with Neumann conditions at all vertices. The multiplicity of the eigenvalue 0 in the spectrum can be shown to equal the number of the connected components of the graph.

Example: a trivializable graph with a vertex of degree two
\label{sec:fake_vertex}

Consider now a graph consisting of two consecutive intervals, $$[0,L_1]$$ and $$[L_1, L_1+L_2]$$. We do not really have to parametrize the edges starting from 0, so in this example we will employ the natural parametrization.

Denote the components of eigenfunction living on the two intervals by $$f_1$$ and $$f_2$$ correspondingly. Solving the equation on the first edge and enforcing the Neumann condition at $$0$$ results in $$f_1(x) = C\cos(kx)$$. The conditions at the point $$L_1$$ are

$$ \begin{aligned} &f_1(L_1) = f_2(L_1), \\ &-f_1'(L_1) + f_2'(L_1) = 0. \end{aligned} $$

Now, by uniqueness theorem for second order differential equations, the solution on the second edge is fully determined by its value at $$L_1$$ and the value of its derivative. Thus the solution is still $$f_2(x) = C\cos(kx)$$ and there is no change in the solution happening at $$L_1$$. We could have considered the interval $$[0,L_1+L_2]$$ without introducing the additional vertex at $$L_1$$. This obviously generalizes to the following rule: having a Neumann vertex of degree 2 is equivalent to having an uninterrupted edge.

This rule is useful, for example, for when one wants to program a looping edge but is troubled by the notational difficulties of loops or multiple edges. In this case a looping edge can be implemented as a triangle with two dummy vertices of degree two.

Example: star graph with Neumann endpoints
\begin{figure} \centerline{\includegraphics{f_stargraph}} \caption{A star graph with three edges.} \label{fig:stargraph} \end{figure}

Consider now a first non-trivial example: a star graph with 3 edges meeting at a central vertex, see Fig.~\ref{fig:stargraph}. Parametrizing the edges from the endpoints towards the central vertex, we get

$$ \begin{aligned} &-f_1 = k^2 f_1, \quad -f_2 = k^2 f_2, \quad -f_3'' = k^2 f_3,\\ &f_1'(0) = 0, \quad f_2'(0)=0, \quad f_3'(0) = 0, \\ &f_1(L_1) = f_2(L_2) = f_3(L_3), \\ &-f_1'(L_1) - f_2'(L_2) - f_3'(L_3) = 0, \end{aligned} $$

where in addition to the already familiar equations \eqref{eq:star_equation} and \eqref{eq:neumann_per} (in three copies), we have continuity condition at the central vertex in equation \eqref{eq:cont_central} and current conservation at the central vertex in equation \eqref{eq:cur_cons_central}. Note that in equation \eqref{eq:star_equation}, the eigenvalue $$k^2$$ is the same on all three edges.

Equations \eqref{eq:star_equation}-\eqref{eq:neumann_per} are solved by

$$ \begin{aligned} f_1(x) = A_1\cos(kx), \quad f_2(x) = A_2\cos(kx), \quad f_3(x) = A_3\cos(kx), \end{aligned} $$

for some constants $$A_1$$, $$A_2$$ and $$A_3$$. Now the remaining two equations become, after a minor simplification,

$$ \begin{aligned} &A_1\cos(kL_1) = A_2\cos(kL_2) = A_3\cos(kL_3), \\ &A_1\sin(kL_1) + A_2\sin(kL_2) + A_3\sin(kL_3) = 0. \end{aligned} $$

Dividing equation \eqref{eq:cur_cons_central_sub} by \eqref{eq:cont_central_sub} cancels the unknown constants, resulting in

$$ \begin{aligned} \tan(kL_1) + \tan(kL_2) + \tan(kL_3) = 0. \end{aligned} $$

Squares of the roots $$k$$ of this equation (which cannot be solved explicitly except when all $$L$$s are equal) are the eigenvalues of the star graph.

Exercise 3
We ignored the possibility that one or more of the cosines in equation \eqref{eq:cont_central_sub} are zero. Show that the more robust (but much longer!) version of equation \eqref{eq:3star} is

$$ \begin{aligned} \sin(kL_1)\cos(kL_2)\cos(kL_3) + \cos(kL_1)\sin(kL_2)\cos(kL_3) + \cos(kL_1)\cos(kL_2)\sin(kL_3) = 0. \end{aligned} $$

Moreover, the order of the root $$k$$ of \eqref{eq:3star_robust} is equal to the dimension of the corresponding eigenspace.

For example, if $$L_1=L_2=L_3=\pi/2$$, the left-hand side of \eqref{eq:3star_robust} vanishes at $$k=1$$ to the second order. This corresponds to two linearly independent solutions,

$$ \begin{aligned} (f_1, f_2, f_3) = (\cos(x), -\cos(x), 0) \quad\mbox{and}\quad (\cos(x), 0, -\cos(x)). \end{aligned} $$

There is actually a lot more that can be (and will be said) about this simple graph, but we first need to extend the set of possible vertex conditions that we consider.


text:
Guitar/song examples/Campfire Diploma/Spanish Lady

Insert from: Songbook/Spanish Lady


text:
Songbook/Spanish Lady

=Spanish Lady=

The 4th verse of the original lyrics of this old folk song refers to historical places and figures who lived at the end of the 18th century and were part of the first revolutionary movement in Irish history.

 * Guitar chords

 * Ukulele (gcea)

The Spanish Lady
As I came down through Dublin City at the hour of twelve at night Who should I see but a Spanish lady washing her feet by candle light First she washed them, then she dried them over a fire of amber coal In all my life I never did see a maid so sweet a-bout the sole
 * 1st

 * Chorus
 * Whack for the toora loora laddy, whack for the toora loora lay
 * Whack for the toora loora laddy, whack for the toora loora lay

As I came back through Dublin city at the hour of half past eight Who should I spy but the Spanish lady brushing her hair in broad daylight First she tossed it, then she brushed it on her lap was a silver comb In all my life I never did see a maid so fair since I did roam
 * 2nd

As I went back through Dublin city as the sun be-gan to set Who should I spy but the Spanish lady catching a moth in a golden net When she saw me then she fled me lifting her petticoat over her knee In all my life I never did see a maid so shy as theSpanish lady
 * 3rd

I’ve wandered north and I’ve wandered south through Stonybatter andPatrick’s Close Up and around the Glouster diamond and back by Napper Tandy’s house Old age has her hand laid on me, cold as a fire of ashy coals But in all my life I never did see a maid so sweet as the Spanish lady
 * 4th

Since the places in the fourth verse are not so well known outside Ireland, and the text is not easy to interpret (does an old man remember a pretty Spanish woman, did he marry her, or have his once hot embers died out in the meantime?

title: Songbook/Spanish Lady


text:
Guitar/song examples/Campfire Diploma/Whiskey in the Jar

Insert from: Songbook/Whiskey in the Jar


text:
Songbook/Whiskey in the Jar

=Whiskey In The Jar =

 * Guitar chords

 * Ukulele (gcea)

"Whiskey in the Jar" is a famous, traditional Irish folk song that tells the story of a bush thief from the Cork or Kerry mountains who has been betrayed by his wife or lover. As with most Irish drinking songs, there is no uniform standard for the lyrics or melody. The best-known covers of this song are probably by the rock groups Thin Lizzy and Metallica.

Whiskey In The Jar
AsI was going over thefar famed Kerry mountains Imet with captain Farrell and hismoney he wascounting. Ifirst produced my pistol, andthen produced my rapier. Said stand and deliver, for Iam a bolddeceiver,
 * 1st

 * Chorus
 * //: musharing dumma do damma da
 * whack for the daddy 'ol
 * whack for the daddy 'ol
 * there's whiskeyin thejar ://

Icounted out his money, and itmade a pretty penny. Iput it in my pocket and Itook it home toJenny. Shesaid and she swore, that shenever would deceive me, but thedevil take the women, for theynever can beeasy
 * 2nd

Iwent into my chamber,all for to take a slumber, Idreamt of gold and jewels and forsure it was nowonder. ButJenny took my charges and shefilled them up with water, Thensent for captain Farrel to beready for theslaughter.
 * 3rd

It wasearly in the morning, asI rose up for travel, Theguards were all around me and like-wise captainFarrel. Ifirst produced my pistol, for shestole away my rapier, But Icouldn't shoot the water so aprisoner I wastaken.
 * 4th

Ifanyone can aid me, it's mybrother in the army, IfI can find his station down inCork or in Kil--larney. Andif he'll come and save me, we'll goroving near Kilkenny, And Iswear he'll treat me better than medarling sportlingJenny
 * 5th

Nowsome men take delight in thedrinking and the roving, Butothers take delight in thegambling and thesmoking. ButI take delight in thejuice of the barley, Andcourting pretty fair maids in themorning bright andearly
 * 6th

title: Songbook/Whiskey in the Jar


text:
User:PHS (Philipines) Geek

This is the Wikibooks account of the User PHS (Philipines) Geek of Wikipedia

title: User:PHS (Philipines) Geek


text: Category:Corned beef recipes

title: Category:Corned beef recipes


text: Category:Book:Quantum Graphs

title: Category:Book:Quantum Graphs


text:
User talk:103.231.160.78

April 2024
MathXplore (discuss • contribs) 02:36, 30 April 2024 (UTC)

title: User talk:103.231.160.78


text:
User talk:99.199.43.50

April 2024
MathXplore (discuss • contribs) 02:37, 30 April 2024 (UTC)

title: User talk:99.199.43.50


text:
User talk:195.195.38.1

April 2024
MathXplore (discuss • contribs) 11:48, 30 April 2024 (UTC)

title: User talk:195.195.38.1


text:
User talk:182.181.136.180

April 2024
MathXplore (discuss • contribs) 13:27, 30 April 2024 (UTC)

title: User talk:182.181.136.180


text:
Cookbook:Acevichada Sauce

Acevichada sauce is a recent contribution to Peruvian cuisine that highlights the country's blend of several cultures, including the Japanese diaspora at the end of the 19th century. The recipe is said to have originated during the 90s in Lima's Matsuei restaurant, which is famous for the creation of the iconic acevichado maki. The sauce, which is sometimes described as a "Leche de Tigre mayonnaise", references the Peruvian style of uramakizushi and has undergone several changes to this day. It is commonly used as a Nikkei-style sushi topping, but more recently, it is used for dipping mixed seafood fritters (jalea de mariscos) and even pizza or chicken wings!

Ingredients

 * 100 ml key lime juice (from 8–10 limes)
 * 20 g sea salt
 * 20 g red onions
 * 20 g ají amarillo chile
 * 10 g ají limo chile
 * 10 g garlic
 * 5 g cilantro leaves
 * 5 g hondashi (Japanese dehydrated broth)
 * 5 g black pepper powder
 * 5 g togarashi pepper powder
 * 375 ml soybean oil
 * 2 pasteurized eggs

Leche de tigre

 * 1) Pour the lime juice into a bowl.
 * 2) Add the salt and test the flavor. It should be neither too salty nor too acidic. If needed, rectify by adding more salt or lime juice to find the right balance.
 * 3) Add the onions, chiles, garlic, cilantro, hondashi, black pepper, and togarashi.
 * 4) Cover with plastic wrap and reserve in the fridge for at least 15 minutes, so the flavors from the vegetables and spices can integrate into the lime juice.

Mayonnaise

 * 1) Crack the eggs into a blender, and start blending at low speed.
 * 2) While running the blender, very gradually start adding 250 ml of the oil until the mixture thickens to a mayonnaise consistency. Use more or less oil as needed.
 * 3) Pause the blender, pour your leche de tigre into the mix, and start blending again.
 * 4) Gradually stream in the remaining 125 ml oil until the mix thickens again.
 * 5) Turn off the blender and taste for salt. If needed, add a little more salt, and blend again until it suits your taste.

Storage
Keep the finished sauce in the fridge, where it should last for approximately 2 days.

title: Cookbook:Acevichada Sauce


text:
User:FalcãoTKD

Hello, Wikibooks Community!

My name is Luis Vinatea, and I am a Finance Manager and Executive Chef based in Florianópolis, Santa Catarina, Brazil. Born in Brazil to Peruvian parents, I have lived across the USA, Spain, and Peru, enriching my life with a deep understanding of diverse cultures and global culinary traditions.

At Wikibooks, I am excited to contribute to the Cookbooks section, where I aim to share recipes that blend traditional methods with modern culinary innovation, reflecting my Peruvian heritage and my experiences abroad. I am particularly interested in developing content that bridges the gap between traditional culinary practices and contemporary dietary trends.

title: User:FalcãoTKD


text:
Talk:Accordion/Left hand

Notes in dominant 7th chords?
Are the three notes in the dominant 7th chords right? As far as I know, most accordions have:

for C at the dominant 7th button: e g bes

for F at the dominant 7th button: a c es 77.165.199.121 (discuss) 20:44, 30 April 2024 (UTC)

 * Sorry, this is not true. It is true for some accordions. 77.165.199.121 (discuss) 20:53, 30 April 2024 (UTC)

title: Talk:Accordion/Left hand


text:
User talk:FalcãoTKD

—Kittycataclysm (discuss • contribs) 23:11, 30 April 2024 (UTC)

Cookbook formatting
Hello, and thanks for your recipe contribution to the cookbook! A few notes on how to properly contribute to the cookbook: I revised a recipe you contributed, so you can see what I mean by the above points. Please let me know if you have any questions! Cheers —Kittycataclysm (discuss • contribs) 23:37, 30 April 2024 (UTC)
 * Please format recipes (including headers, lists, etc) according to Cookbook:Policy/Recipe template.
 * Make sure to add all appropriate categories to the end of the page.
 * Include at the top of the source text for recipe pages.
 * Do not link to Wikipedia.

 * Thanks! Took note of the tips, and thank you for taking the time to edit them for me! FalcãoTKD (discuss • contribs) 00:43, 1 May 2024 (UTC)

title: User talk:FalcãoTKD


text:
Cookbook talk:Acevichada Sauce

Togarashi?
Is this ingredient referring to the spice blend shichimi togarashi? Or is it referring to a pepper called togarashi? —Kittycataclysm (discuss • contribs) 23:40, 30 April 2024 (UTC)

title: Cookbook talk:Acevichada Sauce


text:
Chess Opening Theory/1. e4/1...e5/2. Nf3/2...Nc6/3. Bb5/3...a6/4. Ba4/4...Nf6/5. O-O/5...Bc5

Ruy López Opening: Morphy Defense, Neo-Arkhangelsk Variation:
Black develops his bishop before playing 5...b5 which prevents white from playing 6.Bb4 6...Bc5 7. a4 but allows 6.c3 6...b5 7.Bc2 or 6.Bxc6. White could also continue to play 6. d3 The Anderssen Variation.


text:
Talk:Character Encodings/Code Tables/MS-DOS

FreeDOS Code Pages source: and .Alexlatham96 (discuss • contribs) 04:31, 1 May 2024 (UTC)
 * Any info on these code pages? I don't know if my computer has enough memory to install FreeDOS. Edit:I found info on another site; if you saw me ping you, ignore it. Alexlatham96 (discuss • contribs) 21:52, 21 May 2024 (UTC)


text:
Character Encodings/Code Tables/Windows

 * Code page 1361 (FreeDOS) (Latin-3)
 * Code page 58595
 * Code page 58596
 * Code page 58598

title: Character Encodings/Code Tables/Windows


text:
Character Encodings/Code Tables/ISO

 * ISO-IR 123
 * IEC-P1289

title: Character Encodings/Code Tables/ISO


text:
Guitar/Quick Chord Change/Song Examples

(5) Quick Chord Change
Songs that have a chord progression other than G Em C D are only intended for repetition later. So don't practise them today in this lesson.
 * Two chords in one bar

 * 1) I like the flowers
 * 2) Guantanamera
 * 3) Kumbayah my Lord
 * 4) La Bamba
 * 5)   Strophe //: D (G A) :// D Refrain //:D (A G):// und vielleicht noch ein D für die Pausen
 * 6)  (G Em) 7x C D ...
 * 7)  // (G Em) (C D) // C D
 * //: D (G A) ://
 * 1)  (G D)(C D) 4x C D (G D)(C D) D Ref: (G D)(C D)2x (G D) C D - - (C D) C D (G D)(C D)
 * 2)  (D C) G
 * 3)  (D C) G
 * 4)  (G C) (D C)
 * 5)  //:G (D C) G G ://

title: Guitar/Quick Chord Change/Song Examples


text:
Guitar/song examples/Campfire Diploma/I like the flowers

Insert from: Songbook/I like the flowers


text:
Guitar/song examples/Campfire Diploma/Guantanamera

Insert from: Songbook/Guantanamera


text:
Guitar/song examples/Campfire Diploma/Kumbayah my Lord

Insert from: Songbook/Kumbayah my Lord


text:
Guitar/song examples/Campfire Diploma/La Bamba

Insert from: Songbook/La Bamba


text:
Songbook/I like the flowers

=I like the flowers=

 * [[Image:Crd_G.svg |100px]] [[Image:Crd_Em.svg|100px]] [[Image:Crd_C.svg|100px]][[Image:Crd_D.svg|100px]]

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

 * I like the flowers,   I like the  daffodils

 * I like the mountains,  I like the   rolling hills

 * I like the fireplace,  when the light   is low.

 * Dumdidiadi, dumdidiadi,  dumdidiadi,   dumdidiadi...

 * By the way, the song works very well as a canon.

title: Songbook/I like the flowers


text:
Songbook/La Bamba

=La Bamba=
 * Guitar
 * [[Image:Crd D.svg|100px]][[Image:Crd G.svg|100px]][[Image:Crd A.svg|100px]]

 * Ukulele (gcea)

 * (D G) A (2x)
 * Para bailar laBamba -
 * Para bailar laBamba. - Seneces-ita
 * una poca de gracia -
 * Una poca de gracia pa mi y pati

 * Y arriba y ar-riba, -
 * Y arriba y ar-riba. Por ti se-ré,
 * por ti se-ré, porti se-ré,

 * Yo no soy mari-nero. -
 * Yo no soy mari-nero.Soy capi-tán.
 * Soy capi-tán. Soycapi-tán.

 * Bam-ba,bamba
 * Bam-ba,bamba
 * Bam-ba,bamba.

title: Songbook/La Bamba


text:
Songbook/Guantanamera

=Guantanamera=

Guantanamera

 * [[Image:Crd D.svg|100px]] [[Image:Crd G.svg|100px]] [[Image:Crd A ZMR.svg|100px]]

Guantanamera guajira guantana- mera guantana- mera guajira guantana- mera
 * Chorus

... Yo soy un hombre sin- cero  - De donde crece la palma - Yo soy un  hombre sin- cero  - De donde crece la palma  - Y antes de morirme  quiero   - echar mis versos del al-  ma
 * Verse 1

... Mi verso es de  un verde  claro - Y de un car- mín encen- dido  Mi verso es de  un verde  claro - Y de un car- mín encen- dido  Mi verso es   un ciervo  herido  -  Que busca en  el monte  am-    paro -
 * Verse 2

... - Por los po- bres de la  tierra  - Quiero yo  mi suerte  echar   - Con los po- bres de la  tierra  - Quiero yo  mi suerte  echar  - El arro- yo de la cierra  - Me com- place más que el mar  -
 * Verse 3

Accompanying sample (suggestion)

title: Songbook/Guantanamera


text:
Songbook/Kumbayah my Lord

= Kumbayah my Lord =

 * [[Image:Crd_D.svg|100px]] [[Image:Crd_G.svg |100px]] [[Image:Crd_A.svg|100px]] [[Image:Crd_Em.svg|100px]]

Kum-ba-yah my Lord-kumba-yah Kum-ba-yah my Lord-kumba-yah} - Oh Lord - Kumba yah
 * 1) Kum-ba-yah my Lord-kumba-yah

 * 1) Someone’slaughing, Lord-kumba-yah..
 * 2) Someone’scrying, Lord-kumba-yah...
 * 3) Someone’spraying, Lord -kumba-yah...
 * 4) Someone’ssinging, Lord -kumba-yah...

Rhythm problems
The first chord change occurs in the middle of the bar without a chord change at the beginning of the bar. This is a particular difficulty for beginners. Normally you do not notate a chord again if there has been no change of fingering beforehand. It is also unusual for normal songbooks to indicate a quick chord change with brackets. You need some playing experience in order not to be surprised by such a quick chord change. So you need to remember everything you have learned about the quick chord change in order to play a chord for 1½ bars and then only change to the next chord in the second half of the bar. In the course of the individual verses, less and less help is given. With some playing experience, you will later be able to hear when a fingering change is necessary.
 * You start with an upbeat.
 * Then you play the D major chord for a whole bar.
 * Then you play the D for another half bar,...
 * ...before switching to G in the second half of the bar.

title: Songbook/Kumbayah my Lord


text:
Guitar/Quick Chord Change

Original page translated by Google

= Quick Chord Change = In some songs you have to change the chord within a bar. You can recognize this in songs with notes by the fact that there is more than one chord between two bar lines.

Even if you can't (yet) read notes, it is also advisable to buy songbooks with sheet music. You can always use the bar lines as a guide. You can see from the bar lines how long a chord has to be played and where the "1" for the next beat (or bar) begins. You can recognize rests that beginners like to skip, or you can see, as in the example above, that the G and C are changed within one bar in the first and third bar.

This lesson is about how to play two chords in one bar without losing the steady rhythm or having to switch to a different beat pattern (e.g. western beat).

Note: With the "campfire beat" you don't change exactly in the middle of the bar, i.e. not on the "three", as you would normally do with the "railroad beat", the "western beat" or the "4/4 beat"; instead you change an eighth note earlier, i.e. on the "and" at the upbeat.

 * Count " 1, 2 " ... - and change the chord before the next upbeat follows.
 * On the next "and" immediately after the "2", the new chord is already sounding.

Practice the "fast fingering change" very slowly at first. The "fast" only refers to the number of chord changes during a bar, not to the speed of the bar itself. Just because you change faster, you don't have to get faster in tempo.

Only increase the tempo gradually.

Count loudly and clearly:
 * And don't forget to count!
 * "One ___ two and ___ and four ___"!

Or count as follows:
 * 1 _ 2 "change" and 4 _
 * 1 _ 2 "change" and 4 _

Exercise 1

Exercise 2

Exercise 3

Exercise 4

Chord progression G-Em-C-D with quick chord change
Once you have mastered the preliminary exercises, play exercises 1 and 3 one after the other. You already know the chord progression from the last lesson.

Audio example with the 4 individual exercises and then in combination, including a few more or less familiar melody fragments...
 * [[file:Gitarre Training G Em C D schneller Griffwechsel.mid ]]

Interesting side note
The Latin American rhythm "Quintillo" (5-beat) is derived from the "Tresillo" (3-beat).
 * Quintillo

 * Tresillo

This is also an important rhythm from Latin American music. The three beats of the tresillo can also be found at the top of the campfire beat (quintillo). These beats are actually emphasized more strongly, but it's not worth paying special attention to them at the moment. Chord changes usually take place on one of these 3 beats, which means that we don't change exactly on the 3 in this rhythm. The 8 beats of the eighth-note feeling (including the air beats) have a quasi 3-3-2 division, which you will encounter more often as you get deeper into the subject of "rhythm".

Tips for practicing
The brackets show you that the two chords are changed within a bar. Without brackets, the chords are played for one bar (or until the next chord change). Brackets are rather unusual and are only used here as a first learning aid. Feel free to draw such brackets in your own songbook if you have to change chords within a bar. If possible, start by practicing songs with the familiar, constant chord progression G Em C D. Only then should you move on to the other songs. Some examples only partly contain bars with a quick change of fingering and sections with chord progressions that are not so regular, which is a real challenge when practicing for the first time. Hold up such examples to later repetitions after you no longer have any fundamental problems with the "quick chord change".

title: Guitar/Quick Chord Change


text: Category:Cottonseed recipes

title: Category:Cottonseed recipes


text:
User talk:Insnesnakos

Welcome to my talk page.

title: User talk:Insnesnakos


text:
User talk:12.106.62.2

--SHB2000 (discuss • contribs) 22:15, 1 May 2024 (UTC)

title: User talk:12.106.62.2


text:
Character Encodings/Code Tables/ISO/ISO-IR 123

ISO-IR 123, or CSA Z243.4, is used in Canada. It supports English, Canadian French, and Spanish, as well as some general purpose symbols used in North America. FreeDOS calls it code page 65501.


text:
Guitar/Chord changes C-Am/Song Examples

(6) Chord changes C-Am

 * 1) 500 Miles (Hedy West) (Folksong)
 * 2) Tom Dooley(Folksong)
 * 3) The Wild Rover (Irish Folk)
 * 4) Acres Of Clams
 * 5) The Raggle Taggle Gypsies
 * 6)  //: Am C G D ://
 * 7)  (Guns N'Roses, Bob Dylan u.a.m.) //: G D Am Am | G D C C ://
 * 8)  mostly Am D G G in the chorus once Am D G Em (Original: Capo 2nd fret)
 * 9)  Am G C C (The intermediate section is simply left out until the F major chord)
 * 10)  G G Am Am C C G G (Original: Capo 2nd fret)
 * 11)  Am D G Em

title: Guitar/Chord changes C-Am/Song Examples


text:
Talk:Management Strategy/Strategic Market Management

i would like to learn more on the strategic management 41.78.64.250 (discuss) 09:28, 2 May 2024 (UTC)


text:
Guitar/song examples/Campfire Diploma/500 Miles - Hedy West

Insert from: Songbook/500 Miles - Hedy West


text:
Guitar/song examples/Campfire Diploma/Tom Dooley

Insert from: Songbook/Tom Dooley


text:
Guitar/song examples/Campfire Diploma/The Wild Rover

Insert from: Songbook/The Wild Rover


text:
Guitar/song examples/Campfire Diploma/Acres Of Clams

Insert from: Songbook/Acres Of Clams


text:
Guitar/song examples/Campfire Diploma/The Raggle Taggle Gypsies

Insert from: Songbook/The Raggle Taggle Gypsies


text:
Talk:Physics Study Guide/Magnetism

Help Required: Is all the formula correct?
The text says that it might be incorrect, so I put a disclaimer at the top. Greatder (discuss • contribs) 14:15, 2 May 2024 (UTC)

title: Talk:Physics Study Guide/Magnetism


text:
Short introduction to the use of sewing machines/Sewing labs

The introduction to use sewing machines was a very short book, and was the base for the sewing laboratories, were readers can develop and modify their own projects.

 * Laboratory 1: Dreamo: The pillow of your dreams.
 * Laboratory 2: The simple shirt.
 * Laboratory 3: 100 % Cotton socks.


text:
Guitar/Chord changes C-Am

Original page translated by Google

= Relative minor Am = The change between C major and A minor (Am for short) is even easier than the change between G and Em.

Only one finger is moved between C major and Am.

This makes it very easy to remember that Am is the relative minor to C.

The 2-5-1 chord progression
In the key of G major, the chord C major is the subdominant. Am is the relative minor of C major, so Am is the relative subdominant.

The relative subdominant can be used very well as an announcer ("herald") of the exciting dominant.

Suppose a song contains the chord sequence D(7) G (dominant - tonic). In such a case, the relative subdominant Am very often announces the dominant D(7). You can gain momentum with the Am to D(7) in order to then end up at G again. So Am D(7) G.

If you count through the G major scale 1 2 3 4 5 6 7 8(=1) G A H C D E F# G then you will see that G is on the first degree, A (and Am) on the second degree and D on the fifth degree. The chord progression Am D(7) G is therefore a II-V-I chord progression (2-5-1 in Roman numerals). This chord progression occurs very frequently. It is also particularly popular as a final turn at the end of a verse, a chorus or at the end of a song, or as a transition from the end of a verse with Am D to the beginning of the next verse again with the tonic G. A chord progression, which leads back to the tonic, is a "turnaround". It's worth paying attention to this. It is always easier to memorize a whole standard chord progression than three seemingly independent chords. After a while, you will see and hear this II-V-I connection on your own.

Examples of a II-V-I chord progression

 * Killedpoor LauraFoster. - You know you're bound todie. (Tom Dooley)
 * And Inever willplay THE WILDROVER nomore
 * saying SOMETHINGSTUPID like Ilove you
 * and Imean it from thebottom of myheart (I just call to say I love you)
 * DON'TWORRY,BEHAPPY

In the last lessons you learned the chord progression G-Em-C-D. You also learned here that C major can sometimes be replaced by Am. And you learned that Am can herald the dominant D. So just try replacing the chord progression G-Em-C-D with the chord progression G-Em-Am-D. You'll find that in most cases it works without any problems, so it will be a matter of taste later on whether you use one or the other variant.

Em - Am
Even if the chord change Em Am doesn't cause any significant problems, you can practice it several times in isolation if necessary:
 * 1) Lift all fingers
 * 2) Both fingers goes simultaneously down one fret
 * 3) Index finger in the correct position (same like in C major)
 * 4) Lift all fingers
 * 5) Index and middle fingers goes simultaneously up one fret.

title: Guitar/Chord changes C-Am


text:
Songbook/Tom Dooley

=Tom Dooley =

The song is based on the murder of Laura Foster from North Carolina in 1866. Thomas C. Dula maintained his innocence until his execution. The Kingston Trio sold over 3,000,000 singles with this title in 1958.

 * [[Image:Crd_G.svg|125px]] [[Image:Crd_D.svg|125px]] [[Image:Crd_Am.svg|125px]][[Image:Crd_D7.svg|125px]]

 * 1
 * Hang down your head, Tom Dooley. - Hang down yourhead andcry
 * Killedpoor LauraFoster. - You know you'rebound todie

 * 2
 * You took her on the hillside, - as God al-mightyknows
 * Youtook her on thehillside - and there youhid herclothes

 * 3
 * You took her by the roadside - where youbegged to be ex-cused
 * Youtook her by theroadside - where there youhid hershoes

 * 4
 * You took her on the hillside - to makeher yourwife
 * Youtook her on thehillside - where there youtook herlife

 * 5
 * Take down my old violin - and play itas youplease
 * Atthis time to-morrow, - it'll be nouse tome

 * 6
 * I dug a grave four foot long, - I dug itthree feetdeep
 * Andthrowed the cold clayo'er her - and tramped itwith myfeet

 * 7
 * This world and one more then where do youreckon I'dbe
 * Ifit hadn't been forGrayson, - I'd a-been in Tennes-see

Am and D7 can be omitted if necessary.

title: Songbook/Tom Dooley


text:
Short introduction to the use of sewing machines/Sewing labs/Dreamo

Dreamo is a pillow made taking in count the shape and anatomy of the person that will use the pillows, it's design and manufacture takes around one hour.

Introduction
After trying many pillows with the hope to find the right one, no one seem to do it's function properly, which is to give cushion to the body without creating a pressure or bulk in the area for the head, neck and body that touch the pillow.

A not so convenient pillow paradigm
I noticed the following design mistakes the pillows:

Currently most of pillows use a horizontal-rectangular shape, they are designed for mass production, with the same amount of filling material creating a pressure inside the pillow in order to maintain it's shape uniform. That design has the following problems:

1.- The horizontal-rectangular design covering areas where we do not sleep (horizontal), instead of using this material to cover areas such as the neck and upper spine, the extra unused material could be used instead to support and cushion these other areas.

2.- The horizontal-rectangular design keeps the head in the center of the pillow, ignoring the upper spine, does not cushion the upper spine and does not align the head and neck, this creates a misalignment in the head, neck and spine.

3.- The horizontal-rectangular design focuses in give cushion to the head only, but this rectangular design puts the pressure on the crown of the head and the distribution of cushion for the neck and shoulders is awkward due the fact that the pillows rectangular shape takes care only of the pillow rectangular shape ignoring completely the three dimensional anatomy of the person that uses it.

4.- In order to keep its shape, rectangular pillows uses the infill and materials with that that maintain its pressure towards the surface in order to maintain its shape, this result in a bulky center of the pillow and that pressure is pushes against the head of their users.

The problem when the horizontal-rectangular designed pillows keep their shape by the fact of being bulky in the center is that it maintain a pressure of the material towards the pillow surface, this will be also a pressure toward the user head. The user also have an inner pressure towards it's own head surface, this will be added to the weight of it's head towards the pillow that also has it's own pressure towards it's surface. Therefore, we will have two objects with pressure towards their surfaces (pillow and user head and body), bot already with tension toward their surface. The pillow surface is the area were the tension or pressure is supposed to be reduced and the material should not be pushing against its user. The pillow infill or material should be able to move towards the sides in order to reduce the pressure in the pillow center pressure and soften it's surface giving a better reception to the user head, neck and body.

5.- In the horizontal-rectangular most of the pillow material or volume to the sides, where we do not sleep.

6.- There is not teller measuring the size or length or weight of the user body or head, therefore, the pillow produced is not make to cover the user needs.

The horizontal-rectangular design design could be convenient to the manufacturers due for the following reasons:

 * Since the manufacturers use 3 sizes, they are easy to cut and produce.

 * The rectangular design eliminates the use of a tailor or a person that takes the measurement of the user, ignoring completely the user anatomy, the user weight, the user body shape.. rectangular pillows are mass produced to be sold ignoring the users comfort.

 * Ignoring users anatomy or head and body form of the user, eliminates the need of hire tailors to measure the pillow users and the need for pillow part with specific lengths, is easier to produce 3 pillows sizes than million of pillows combinations and measures for each of the customers.

 * * The materials and design for rectangular pillows are used in a form that focus in the pillows shape, eliminating workforce (tellers), the user measures, anatomy and comfort. Current pillow design uses less external fabric material than bigger pillows that covers users body areas, giving the illusion of being big while most of the pillows area is unused except for the users head and part of the neck. Using less material and less parts (One part in the cases of the pillows that not use a central line to allow pillow expansion) and less thread to hold the parts. The excess of material could be repurposed to cover the area of the neck and upper spine, and the excess of filling material and pressure could be used in other pillows.

Rectangular mass produced pillows that ignore the measure of the users in exchange for a lower price defeats their own purpose that is create users maximum comfort, exchanging it for a design that could be in many cases uncomfortable and even create unnecessary pressure or misalignment in the users head or body.

Disadvantages of using mass produced pillows

 * We are not able to select the materials for each component of the pillow, in designer pillows we are not given the option to select what materials we want on the pillows.

The rectangular mass produced pillow not just goes against it's own purpose, it sacrifices the comfort and rest of user during their whole life, and the rest of all the generations and civilizations that uses them.

The benefit of using many pillows and noticing the benefits of each one is that it allowed me to understand each pillow mistakes, get the best part of these pillows and integrate them in one single pillow design that is personalized, reduce pressure and at the same time creates cushion according to each user needs.

Manufacturers do not allow user to choose the materials, colors, sources as they desire.

Dreamo: The pillow of your dreams.
This pillow covers the complete area of the head, neck, back and buttocks, releasing and dispersing the pressure received by the pillow and bed towards the pillow and bed sides instead of towards our own head.

Many users do not need a pillow that keeps is shape, instead of that, need a pillows that serves it's purpose, being comfortable and be able to modify it's shape or infill distribution at any time.

A teller should measure the head, neck and upper spine of the user in order to create a pillow that not just receive and cushion the head of the user, but also receive it with the right amount of pressure, releasing the unnecesary pressure towards the sides, and at the same time, keeps alligned the head, neck and upper spine of the user.

The Dreamo pillows intends to correct all this mistakes used by thousand of years.

 * Uses a design that considers the anatomy of the human body, head, back, neck and buttocks, the three dimensional curves of the bones and muscles, allowing a cushion that releases muscle and bone pressure.

 * Add an intermediate frame between the top and bottom of the pillow to allow that the filling material expand towards the sides when necessary instead of keeping pushing them towards the center of the pillow.

 * Dreamo design allows to change its shape according the users weight or preference at any time, using each material and part to focus on the user comfort allowing the pillow form to be changed freely by the user at any moment of the day or night.

 * We have freedom to select the pillow materials for each component of the pillow, this will allow us to chose the quality, softness, purity, healthy and safe materials, some of the options are:

Dreamo paradigm
Convenience of switching to a new pillow design:

 * The material used in The horizontal-rectangular design could be used instead in the area each user sleeps, with a vertical orientation, this also could align our head, our neck and spine, giving to the whole upper volume the correct alignment.
 * Ideally a dreamo pillow could be made for a user after taking the user measures, choosing the user materials, textures and colors and the level of pressure and height of the pillow.
 * There could be a in-be·tween option, where 3 or 4 sizes could be mass produced with different levels of pressure, this pressure could also be measured in order to standardize them.

Materials
The materials needed are the following:

 * Scissor

 * Thread.

 * Tape measure with a length of at least 5 feet (60 inches)

Fabrics
Fabrics can be a single fabric in case of cotton, wool or kapok filling. If feathers are used, a thicker fabric is used called ticking.

In fabrics stores, fabrics are measured in yards, each yard is equivalent to 36 inches. The wide of the material is stated are measured in inches and are shown on the side of the materials were are packed or placed, many materials had a wide of 40 or 44 inches wide that is more than enough for our project, since the wide of our pillow is 30 inches, so we only need to calculate how much fabric we will buy for the length of both sides of the pillow and the line that will connect them (and allow the expansion of the pillow).

The size for the materials is at least the length of the pillow, the pillow we will make will have a length of 50 inches, in this case We need at least 2 sides to make a pillow, so we will have to buy in this case 3 yards of material or 108 inches, in order to not be short of materials during the middle of the sewing process.

Pillow external fabric
During the selection of the material we can choose the color of the material, the softness of the material, the type of material. In this case I choose one with the following details:

Color: Honeydew Fabric: 100 % color. Wide: 44 inches (the material came with this wide). Length 3 yards or 108 inches.

Other options: Cotton, wool, feathers Goose, etc.

Pillow Ticking

 * Pillow Ticking must be used in case that feathers are used as infill since they can pass though cotton fabric and release allergens and feathers though its use since the first day of use with the possible cause of pneumonia in extreme cases.

Infill
Kapok filling: low price and natural

Equipment

 * A sewing machine, or needle and thread.

Design
For it's design only need to make a few measures, mark the areas to cut in the fabric, cut the pieces, sew the 4 pieces together, fill the pillow and sew the last segment.

The project was initially a pillow for side sleepers, but when designing the pillow I put two pillows together and noticed that a pillow that support the whole back and the head will reduce the tension in the neck and allow the whole body rest while at the same time maintaining an light inclination of the uppers side of the body (head and back), allowing the blood flow to the legs while at the same time eliminates the tension in the neck and head.

Measuring and cutting the area of the pillow
Measure the areas for your body, put yourself in a sleep position and take the following measures:

a.- The distance from the top of your head to the end of your buttocks (close to your legs):

In my case: 35 inches is de distance your head to the end of your buttocks. In your case: ____ inches

b.- The distance of the wide of your whole body from one side to the other side: In my case: 24 inches wide. In your case: ____ inches wide.

Cutting the upper and lower fabrics for the pillow
Cut 2 rectangular pieces for the pillow, this will be the upper and lower area of the pillow, it will be a square that covers your whole upper part: 35x24 inches. In your case: ___ inches x ___ inches

Warning: Pillows that use feather filling must contain the pillow with Pillow Ticking (also made with cotton), since they prevent the feathers to pass though cotton fabric and release allergens and feathers though its use since the first day of use with the possible cause of pneumonia in extreme cases. If feathers are used, these material measuring and cutting will be for the pillow thicken and after that an additional cotton layer can be added if desired.

Measures for the sections of the pillow
Measure the following distances:

The distance from the end of your buttocks to the start of your buttocks (upper part): In my case 7 inches. In your case: ___ inches.

The distance from the start of your buttocks to the start of your ribs: In my case 6 inches. In your case: ___ inches.

The distance from your shoulders to the start of your ribs: In my case __ inches. In your case: ___ inches.

The distance from the start of you neck to your shoulders or upper back. In my case __ inches. In your case: ___ inches.

The distance from the top of your head to the start of your neck (or your chin) In my case __ inches. In your case: ___ inches.

Adding 3 inches to each of the previous measures
To each one of this distances or segments you will add 3 inches, this will allow 1.5 inches up and down freedom degree, this will be 10, 9, etc.

In both of the big rectangles (top and bottom of the pillow) mark the area where your neck starts, taking in count the 3 added inches...

In my case it is 10 inches from the buttocks towards the head or 25 inches from the head towards the buttocks.

From this part you will mark a line towards the center of the head or upper part, then you will draw a semicircle from the left side going to the top part of the head, then towards the other side of the pillow,

This will be the drawing of a semi-circle that will be the supporting area for the head (not a triangle), cut this part with scissors, this will give the pillow a tongue shape (instead of a rectangular shape), while at the same time will allow us to eliminate unnecessary material and eliminate any heat excess.

Measuring, cut and marking the sides of the pillow
Cut 2 long rectangles for the sides of the pillow:

They will be 50 inches long and 3 inches tall; It was original 35 inches, but we will added 3 inches for each one of the 5 segments where we added material. This will allow us to have excess material in case of needing it during the sewing of the pieces, this will avoid to be short of material in this part.

This long rectangles will connect the top of the pillow with its bottom, it will be their intermediate area that connect both sides, and will allow the infill to be dispersed towards the sides. The initial shape of this 2 long side pieces will be a rectangle, in this case 50x3 inches... the long can be changed, this will be the distance from your buttocks to the top of your head.

Initially these were two long rectangle, 50x3 inches, but now we will modify this long rectangles in some areas to give them a high of 3 inches or a lower part of 1.5 inches, this will allow the infill to be dispersed towards the sides rather than keep it pushing towards the head, neck and back, according the anatomy of our body.

It will give the pillow a height of 1.5 inches in the areas that we want to increase material or pressure and 3 inches in the area that we want to reduces material or pressure in order to give more cushion when is needed or reduce pressure in areas of the body closer to the bed. The use of this will allow the proper distribution of material, reducing pressure and increasing comfort and cushion, for this we will mark dots in this rectangles:

 * In the lower extreme or lower part mark a dot from the base of the rectangles to its top, that is 3 inches, then add the following dots:

____ inches + ___ inches = ____ inches.
 * In the position center of your buttocks (in my case around 5 inches from the extreme of the rectangle) mark a dot at 1.5 inches from the base of the rectangle.

____ inches + ___ inches = ____ inches.
 * Mark a dot 1.5 inches from the base of the rectangle at the spot where is located your the beginning of your lower rib.

____ inches + ___ inches = ____ inches.
 * Mark a dot at 3 inches from the base of the rectangle at the spot where is the center of your neck.

____ inches + ___ inches = ____ inches.
 * Mark a dot at 1.5 from the base of the rectangle at the spot where is located the crown of your head since this area is the closed towards the bed.

____ inches + ___ inches = ____ inches.
 * In the other extreme, upper part or initial position of the rectangle (area for the top of your head) this segment will have 3 inches, add a dot if you wish, it is not necessary since is the top of the rectangle.

Remember to add the 3 inches of freedom to each segment.

This rectangle is 35 inches long and 3 inches tall, both extremes will be 3 inches, and now we will connect the marked dots with curves or lines, connect them freely, it does not need to be perfect.

Finally cut the rectangle following the marked line, repeat this or make this steps at the same time in the other 35x3 inches rectangle.

This long rectangle will connect the upper part of the pillow with the lower part of the pillow, and it's function is are the follow:

The areas of the body that are closed to the bed will correspond to the areas of the rectangle 1.5 inches tall, this will reduce the area for infill and forcing the infill to go to the other areas reducing pressure from the head and giving space to the body in these areas: Crown of the head, area from the shoulders to the ribs and buttocks, while at the same time will align or level all parts of the body. This reduce material and pressure in the center of the crown of the head, and upper back area.

The areas of the body that are far from the bed will correspond to the areas of the rectangle 3 inches tall, this will increase the area for infill, allowing the expansion of this areas and giving cushion this areas: Lower extreme, upper extreme, neck and area between buttocks and ribs, while at the same time will align or level all parts of the body. This will increase material and cushion approaching and when reaching space of necks curvature, and lower back curvature.

In most of pillows to top and bottom sides are sewed together, that does not allow and easy distribution of the infill and just keep pushing the infill towards the center of the pillow, towards the head, neck and back, in an awkward way giving pressure and material where is not needed.

A third long rectangle can be added for the lower part, this will be the long of your shoulders, in this example 24 inches x 3 inches, we can cut a 30x3 segment in order to not be short of material during the sewing of the segment.

Do not worry of mistakes, even the cut or shapes are not perfect, the 3 inches will allow or compensate the mistakes of the design.

Drawing the lines
Once we have our measures calculated and written, we are going to use pencil, measuring tape and an wide table, surface or even the floor could be used.

In some cases the fabric could be damaged for around one inch, cut that area in order to not use a damaged section.

Place the fabric to be cut (if feathers are used, ticking fabric) on a flat surface and proceed to draw the lines for cutting or sewing.

Drawing the lines for the top and bottom of the pillow
Measure the wide to be used (30 inches), mark a dot at that point. Then measure the length (50 inches) close to the border of the fabric and mark a dot. Measure the wide again at that height and mark a dot. Measure 2 more times the length in 2 other sections of the area, and 2 more times the wide. Draw a line that will represent one side of the pillow or square.

Repeat this step in the opposite side of the pillow.

Drawing the lines for the sides of the pillow
Since the fabric wide is 44 inches, and the pillow wide is 30 inches, we will have around 14 inches that can be use to cut the sides of the pillows, these will connect the top and the bottom of the pillow and will allow the reduction of the pressure when people uses the pillows.

Mark a dot at the height of 3 inches, and a dot at the length of 60 inches. Mark 2 more 3 inches dots in between the initial part and 60 inches, and draw a rectangle (60x3 inches).

Repeat this step to make the second rectangle or side.

Now draw points in the sections were we want more material or pressure (top of the neck) and points in the areas were we want less material or pressure (crown):

The dots used as reference (with the 3 extra inches) are

 * 0 for the area bellow the buttocks,
 * 12 for the upper end of the buttocks
 * 23 inches from the lower back to the start of the ribs
 * 35 inches for the bottom of the neck, or your shoulders or upper back.
 * 47 for the start of you neck or your chin
 * 61 for the top of the head.

We are going to mark the previous dots in the 60x3 sections at the height of 3 inches.

If we want to eliminate cushion in the lungs area to allow their normal function, we could just use the area from the top of the head to the start of you upper back, and not make a pillow from the buttocks to the middle or lower back area. This will also allow a smaller pillow and the use of material.

Now we will add a dot at the height of 1 and 1/2 inches (1.5 inches) in the sections where we want to have less material or pressure:

 * Middle of the head or crown: At 54 inches height, mark this point as 1/2 inch.
 * Middle of the back: 29 inches height, mark this point as 1/2 inch.
 * Middle of buttocks: 6 inches: Mark this point as 1/2 inch.

Now draw a curve that connects the rest of the dots with these 3 dots, and where is the head position and where the lower position.

Repeat this steps with the other rectangle. And draw curves to connect these dogs, this lines are not drawn to be cut, are drawn to be sewed.

Cutting the upper and lower fabrics for the pillow
Cut 2 rectangular pieces for the pillow, this will be the upper and lower area of the pillow, it will be a square that covers your whole upper part: 35x24 inches. In your case: ___ inches x ___ inches

Warning: Pillows that use feather filling must contain the pillow with Pillow Ticking (also made with cotton), since they prevent the feathers to pass though cotton fabric and release allergens and feathers though its use since the first day of use with the possible cause of pneumonia in extreme cases. If feathers are used, these material measuring and cutting will be for the pillow thicken and after that an additional cotton layer can be added if desired.

Cutting sides of the pillow
Cut both 60x3 inches rectangles.

Sewing the pillow
Sew both of the 3 inches long segments together from the upper section area (head side), allowing around 1 inches of intersection and cut that excess.

Remember to use the reverse sewing at the beginning and end of the segments to tangle the threads.

Sew one of the long segments starting with the upper part of one of the pillows sides, and use this long 3 inches wide piece as your guide until you reach its end.

Repeat this with the other long segment in the same pillow side. Now yo will have the both 3 inches long sides attached to one of the pillows, and will repeat the same with the other side of the pillow/

Start sewing the center of the side with the pillow (the one not sewed yet) from the upper part of the head area towards the end of one side of the intermediate of the pillow... then go to its center again and sew towards the other end.

Do a second sewing in the sew areas, to assure that the pillow is sealed properly, then cut the excess material of border of the pillow out of the sewed area or unnecessary fabric, but leaving some, around half inch of from the thread to prevent cutting the tread.

Flip the pillow, this will move the area of the pillow where we can see the thread and excess of fabric not cut with the scissors towards the inside of the pillow.

Filling the pillow
Place the cover of the pillow in a receptacle bigger than the pillow, outside the working room, this will will allow to have a more organized work area and preventing dispersing the infill in the room.

Fill the pillow with its infill (goose feathers), push the infill to bottom of the pillow, you can press the infill towards the bottom of the pillow, this will facilitate the sewing of the last part of the pillow, add more infill if necessary.

It does not matter that the pillow is not completely full, this will reduce pressure and allow the distribution of infill and change the shape according your weight, even half of the pillow with infill will be enough, it will also allow us to change the pillow shape to our preference.

Final steps
Sew the third long rectangle to seal the pillow. Other option is to not use a third rectangle and just sew both lower sides of the pillow.

Cut excess material.


text:
User talk:152.22.0.240

May 2024
MathXplore (discuss • contribs) 16:23, 2 May 2024 (UTC)

title: User talk:152.22.0.240


text:
Songbook/The Raggle Taggle Gypsies

= The Raggle Taggle Gypsies =

Many text variants date from the 18th century and were sold in broadsheet format (simply folded song sheet) for pennies. The basic structure of the ballad is as follows: A daughter from a good family runs off with a gypsy. Her father tries in vain to bring the daughter back, as she is not prepared to leave her husband. Then the text variants diverge greatly. Sometimes the woman's poverty is described, sometimes a child is mentioned, sometimes the father takes revenge on the gypsy clan.

The originally Scottish ballad soon became an integral part of Irish folk music.

 * 1
 * There were three of the gypsies a come to my door,
 * And down stairs ran this a-lady, O.
 * One sang high and another sang low
 * And the other sang bonny bonny Bis-ca-y O

 * 2
 * Then she pulled off her silk finished gown,
 * And put on hose of leather, O
 * The ragged ragged rags a-bout our door
 * She's away with the wraggle-taggle gypsies,O.

 * 3
 * It was late last night when my lord came home,
 * Inquiring for his a-lady O
 * The servants said on every hand
 * She's gone with the wraggle-taggle gypsies,O.

 * 4
 * O saddle to me my milk-white steed
 * And go and fetch me my pony, O
 * That I may ride and seek my bride,
 * Who's gone with the wraggle-taggle gypsies,O.

 * 5
 * O he rode high, and he rode low
 * He rode through wood and copses too,
 * Un-til he came to a wide open field,
 * And there he e-spied his a-lady O

 * 6
 * What makes you leave you house and land?
 * What makes you leave you money, O?
 * What makes you leave you new-wedded lord,
 * To follow the wraggle-taggle gypsies, O.

 * 7
 * "Last night you slept on a goosefeather bed,
 * With the sheet turned down so bravely, O.
 * To-night you'll sleep in a cold open field,
 * Alone with the wraggle-taggle gypsies, O."

 * 8
 * "What care I for a goose-feather bed,
 * With the sheet turned down so bravely, O.
 * For to-night I'll sleep in a cold open field,
 * In the arms of my wraggle-taggle gypsies, O.

title: Songbook/The Raggle Taggle Gypsies


text:
Wikibooks:Requests for deletion/Unity for teens!

Unity for teens!
No edits in 2 years, no plan for development, looks abandoned. Should delete. I would love to add more to it, but I'm more of a Godot guy, don't know any Unity.

ForTheGrammar (discuss • contribs) 00:20, 26 January 2024 (UTC)

 * per above —Kittycataclysm (discuss • contribs) 00:45, 26 January 2024 (UTC)
 * per above while adding missing and telling the creator about this talk.--Jusjih (discuss • contribs) 20:44, 3 April 2024 (UTC)
 * ✅ --SHB2000 (discuss • contribs) 11:50, 29 April 2024 (UTC)


text:
Wikibooks:Requests for deletion/Cookbook:Chinese Herbs

Cookbook:Chinese Herbs
Completely out of Cookbook scope, not much useful content. —Kittycataclysm (discuss • contribs) 23:55, 21 March 2024 (UTC)
 * as per above. —ꠢꠣꠍꠘ ꠞꠣꠎꠣ (discuss • contribs) 11:57, 27 March 2024 (UTC)


text:
User talk:2A00:23C8:1B90:DF01:9802:4578:FC8B:872B

May 2024
MathXplore (discuss • contribs) 08:28, 3 May 2024 (UTC)


text:
User talk:102.213.69.165

May 2024
MathXplore (discuss • contribs) 12:32, 3 May 2024 (UTC)

title: User talk:102.213.69.165


text:
User talk:104.225.169.52

May 2024
MathXplore (discuss • contribs) 12:32, 3 May 2024 (UTC)

title: User talk:104.225.169.52


text:
User talk:73.12.61.190

done by andrew cornfeld
done by andrew cornfeld AndrewCornfeld (discuss • contribs) 18:20, 3 May 2024 (UTC)

title: User talk:73.12.61.190


text:
Monopoly/Monopoly: The Mega Edition

Monopoly: The Mega Edition is a larger variant of Monopoly, published in the US in 2006 by Winning Moves Games USA. A British version followed the next year.

Equipment and Preparation
The board for the Mega Edition is 30% larger than a standard Monopoly board, incorporating eight new streets (one per colour group), a new utility called the Gas Company, and three new action spaces.

The new streets are as follows: Also introduced are:

 * A new card deck, called the Bus Tickets
 * Two new types of buildings called skyscrapers and train depots
 * The money deck now includes 1,000 bills
 * A speed die for faster play

The game is set up similarly to standard Monopoly, with the following differences:

 * Each player receives 2,500 at game start – the normal 1,500 plus a 1,000 bill
 * The Bus Tickets are shuffled and placed in their allocated spot on the board.

The Speed Die
See Monopoly/The Speed Die for details on how to use the Speed Die.

Bus Tickets
If you have one or more Bus Ticket cards in your hand at the start of your turn, you may choose to use one instead of rolling the dice. When you use a Bus Ticket, you may move forward to any space on the edge of the board you are currently on (corners count as the starting and ending spaces for an edge).

When a Bus Ticket is used, it is not placed at the bottom of the deck. It is instead placed in the box and is out of the game.

Some Bus Ticket cards have the words “ALL TICKETS EXPIRE, EXCEPT THIS ONE” on them. When such a Ticket is drawn, every other Bus Ticket drawn but not played (including the other Tickets of the player who drew the expiration Ticket) expires, removing them from the game.

New Action Spaces
Monopoly Mega introduces three new action spaces:

 * Auction: This space is located in between Jail and Maryland Avenue/Downing Street. If a player lands here, they must select one unowned property, and that property is auctioned off. If no unowned properties remain, the player advances to the property that would charge the highest rent for them and pays the appropriate amount (if this is a tie, move to the closest one).
 * Bus Ticket: This space is located in between Michigan Avenue/Aldwych and the B&O Railroad / Fenchurch Street Station. If a player lands here, they must draw a Bus Ticket. If none remain, the space acts like a second Free Parking space, so nothing happens.
 * Birthday Gift: This space is located in between Florida Avenue/Knightsbridge and the red Chance space. If a player lands here, they may choose to take 100 from the Bank or draw a Bus Ticket. If no Bus Tickets remain, they must take the 100.

Buying and Selling Buildings
Buying buildings in the Mega Edition works as follows: As said earlier, Monopoly Mega also introduces two new buildings, skyscrapers and train depots.
 * Once a player has the majority of streets in a colour set (two for the brown and dark blue sets, and three for the others), they have a partial monopoly and may start buying houses and hotels for that set, following the even building rules of standard Monopoly. Unimproved streets in a partial monopoly have their rent doubled.
 * Once you have all of the streets in a colour set, you have a complete monopoly, and rent for unimproved streets in that set is tripled.
 * If you have a partial monopoly on a colour set, and you receive the last street in that colour set (by trade or by bankrupting someone) whilst you have buildings present on that colour set, then you must immediately unmortgage that street (if it is mortgaged) and build it up to follow the even building rule. If you cannot afford to do so, you must redistribute the houses between the streets to follow the even building rule (you may need to break down hotels to do this).
 * If you have a complete monopoly on a colour set and all the streets in said set have hotels, you may upgrade the hotels and replace them with skyscrapers. The cost is on the title deed. A property with a skyscraper may not be improved further. You may sell a skyscraper to the Bank for half the cost price, reverting it to a hotel.
 * You may build a train depot on any railroad you own for 100. You do not need to own all 4 to do this. Building a train depot doubles the rent for that railroad (this stacks with the effect of the ‘advance to railroad’ card). Train depots may be sold to the Bank for 50.

title: Monopoly/Monopoly: The Mega Edition


text:
October 7th Massacre

Contents

 * 1) /Preface/
 * 2) /Alumim/
 * 3) /Be’eri/
 * 4) /Ein HaShlosha/
 * 5) /Holit/
 * 6) /Kfar Aza/
 * 7) /Kissufim/
 * 8) /Nahal Oz/
 * 9) /Netiv HaAsara/
 * 10) /Nir Oz/
 * 11) /Nir Yitzhak/
 * 12) /Nirim/
 * 13) /Ofakim/
 * 14) /Re’im/
 * 15) /Re’im Music Festival/
 * 16) /Sderot/
 * 17) /Zikim Beach/

title: October 7th Massacre


text:
October 7th Massacre/Preface

On Saturday, October 7th, 2023, Hamas together with other terrorist organizations launched a surprise attack from Gaza. The attack started with the launch of at least 3,000 rockets to Israel, as well as incursions. Hamas breached the Gaza-Israel barrier and massacred 1,139 people : 695 Israeli civilians (including 36 children), 71 foreign nationals, and 373 members of the security forces. 250 Israeli civilians and hostages were taken, including women and children. There is also evidence of sexual assaults.

The day, which was labeled as the Black Saturday (Hebrew: השבת השחורה) or the Simchat Torah Massacre (הטבח בשמחת תורה), was labeled as the bloodiest in Israeli history, and the deadliest for the Jews since the Holocaust.

According to several international law and genocide studies experts, Hamas's assault amounted to genocide. Legal and genocide experts have condemned the attack, saying it represents a serious violation of international law. They argue that Hamas carried out these actions with the intent to destroy the Israeli national group. Some commentators point to Hamas's founding charter, which advocates for the destruction of Israel, contains antisemitic language, and, according to certain researchers, implies a call for the genocide of Jews. This has led to suggestions that the 7 October attacks were an effort to fulfill this agenda.

This wikibook is intended to summarize the events that happened during the Black Friday in the communities impacted by this attack.

title: October 7th Massacre/Preface


text:
October 7th Massacre/Sderot

Sderot, a city of more than 30,000 people, was struck by rockets at 6:30 in the morning of October 7th. Hamas gunmen entered the town and engaged in firefights with local police units and civilians. Many civilians were murdered on the street and in homes in the surprise attack. The residents of the city received instructions to lock the doors and windows of their homes, and not to open the door when knocked.

On the same day, a group of 13 elderly people were on the way to a vacation in the Dead Sea. According to the report by two surviving individuals, a wheel of their minibus was punctured on the way, so they stopped in Sderot. When they heard an alarm, they ran to a locked shelter and thus remained outdoors. The survivors describe two white vans containing gunmen who shot at them. One of the survivors reportedly lay on the ground near a woman who was shot, where he pretended to be dead. The second survivor from the group, a worker from Moldova named Nikolai, ran to the house of a local family after the first alarms, and stayed there for nearly 2 days.

Reuven, a police volunteer testified about these events. After the first alarm, he reported seeing a minibus near the library with one wheel missing, and many old people near a locked shelter. After seeing a van shoot at them, he returned fire and survived. He later took shelter in another house before joining Shin Bet forces in the area. They reported witnessing dead bodies near the road and searching for attackers.

Keren Roitman Hazan, a 35 year-old Sderot resident, said she heard the first alarms, which went on for 20 minutes, while preparing for her morning jog. She took videos of assailants riding in the city, as well as images of the elderly people murdered near the library, before taking shelter with her children. The following day, rockets hit the electricity and water infrastructure, with the cellular infrastructure already hit already the previous day. She therefore fled in their car with her children, instructing them to lower their heads below the window line and cover them with pillows. She testified to seeing many cars covered in blood and getting shot at while driving.

Assailants also attacked the police station of Sderot, and there was heavy fighting. At one point the fighters from the police station reportedly called, saying, “we are both seriously injured, there are terrorists on the roof with us. We are in combat. We are out of ammunition.” The fighting intensified both on the roof and near the entrance of the police station, continuing for 24 hours, after which the assailants eventually took control of the police station. A decision was made to demolish the station, and a heavy exchange of fire started after a bulldozer started demolishing parts of the station. The station eventually caught fire. IDF tanks as well as other armored vehicles were brought to the area.

It was suspected that the last terrorist in the station managed to escape, and on the morning of October 8th, the mayor instructed residents to stay locked in their homes. After the attackers were eliminated, Hamas continued firing rockets nonstop on Sderot. The residents were later evacuated to hotels in the Dead Sea, Eilat, and Jerusalem.

title: October 7th Massacre/Sderot


text:
User:Newageleader

.

title: User:Newageleader


text:
User talk:Newageleader

.

title: User talk:Newageleader


text:
User:Abigail171

Hi im abbyy :3

title: User:Abigail171


text: Category:Cowpea recipes

title: Category:Cowpea recipes


text:
User talk:2401:D800:EC1:F131:E59E:2685:3640:9CEC

May 2024
MathXplore (discuss • contribs) 03:07, 5 May 2024 (UTC)


text:
User talk:12.189.136.188

A book you recently created, Music taste curse, has been queried because it does not seem to be a book. Please read Using Wikibooks and make improvements else the book may be deleted within 7 days.--Xania   talk 03:46, 5 May 2024 (UTC)

Willis Tower/Exhibits/Tribune Tower
This book/page has been deleted. Wikibooks is for the creation of books. Encyclopedic articles belong on Wikipedia not Wikibooks.--Xania   talk 03:48, 5 May 2024 (UTC)

title: User talk:12.189.136.188


text: User talk:41.104.152.30

title: User talk:41.104.152.30


text:
User talk:37.248.220.148

May 2024
MathXplore (discuss • contribs) 04:50, 5 May 2024 (UTC)

title: User talk:37.248.220.148


text:
User talk:80.251.227.89

May 2024
MathXplore (discuss • contribs) 07:24, 5 May 2024 (UTC)

title: User talk:80.251.227.89