OpenLLM-France/wikimedia huggingface dataset:
# Saxophone/Lesson 1.1

Students should already be familiar with all of the material in the preliminary section of this Wikibook.
In this lesson you will learn to play your first three notes. Remember to always begin by placing your tongue over the reed and releasing it as you start the note, like saying “taaaa” into your saxophone. It is not correct technique to begin a note using only your airstream like saying “haaa” or “aaaa”.

### Crotchets

A note that takes up one beat of musical pulse is called a crotchet (American: quarter note). It looks like this:
Or like this:
Where the notehead is located on the stave tells you which note (pitch) to play.

### Crotchet Rest

A rest is the musical name for a silence. A crotchet rest is a silence that goes for one beat. It looks like this:

### The Note B

To play the note B press down the key indicated with the index finger of your left hand. Note that this key is not the very top key on your saxophone but the second one down. Take a full breath of air and being careful to start the note by releasing the reed with your tongue play a B as a long tone until your air runs out.
The note B looks like this on the stave:
Practice playing long tones on a B keeping a steady sound and airstream.

### The Note A

To play the note A, press down your index finger as for a B and also your middle finger on the key indicated. Note that this is not the immediately lower key but the one beneath that. Practice playing a long tone on an A being sure to start with a “taaaa” with your tongue releasing the reed.
The note A looks like this on the stave:
Note that when the notehead is high in the stave, as for B, the stem points down and when the note is low in the stave, as for A, the stem points up.

### The Note G

The final note in this lesson is the note G. To play a G, press down your index and middle fingers as for an A and add your fourth finger onto the next note down. Practice playing long G’s.
A G looks like this on the stave

## Repertoire for this Lesson

When you are confident playing the three notes in this lesson learn the following pieces on your saxophone. Points to keep in mind includeː
* Is your posture upright and relaxed?
* Are you taking full breaths of air that last until the next rest?
* Are you starting each note with a clear "ta" sound from your tongue releasing the reed?
* Do you have a steady pulse going through everything you are playing?

### Piece 1.1.3

Next Lesson
# Saxophone/Lesson 1.2

Students should already be familiar with the material in Lesson 1.1.

### The Note C

To play the note C press down the middle finger only on the left hand. This is like playing an A but without the index finger.
A C looks like this on the stave:
Practice playing a long tone C for a whole breath of air.

### Minims and Minim Rests

In Lesson 1.1 we learnt that crotchets are notes that go for one musical beat. Minims (American: half notes) are twice as long; they go for two beats.
They look like this:
Or like this:
A minim rest is two beats of silence. It looks like this:
This is the same as writing two crotchet rests.

### Breath Marks

The last musical symbol in this lesson is the breath mark. It tells you where to take a breath in a piece of music. It looks like an apostrophe written above the stave:
Remember to always take deep breaths that fill up your lungs when playing saxophone. The section of music in between two breath marks is called a phrase.
Not all pieces have the breath marks written in, sometimes the composer leaves it to the performer's discretion. Breath marks are also rarely written over rests as it is assumed that the performer will breathe there if necessary.
Where a breath mark is written where there is no rest, it may be necessary to end the previous note a tiny bit early to have time to breathe before beginning the next phrase.

## Repertoire for this Lesson
### Piece 1.2.3

Next Lesson
# Saxophone/Repertoire

This page is designed to give you a list of useful repertoire and resources.

### Beginner Resources and Method Books

* Off to a Great Start by Mark Walton
* Essential Elements Series (written for use with band)
* Tradition of Excellence Series (written for use with band)
* Accent on Achievement Series (written for use with band)

### Advanced Resources and Method Books

* Top Tones for the Saxophone by Sigurd Rascher
* Saxophone High Tones by Eugene Rousseau
* Exercices-Mecaniques by Jean Marie Londeix
* Note Cruncher Book 2 by Mark Walton

### Classical Compositions for Saxophone

A list of significant concert works for saxophone can be found on Wikipedia.

### Other Works for Saxophone

* The Charlie Parker Omnibook provides reliable transcriptions of several of his significant improvised solos
# Saxophone/Slap Tonguing
## Slap Tonguing

Slap tonguing is a saxophone technique caused by pulling the reed away from the mouthpiece to create a ‘popping’ or ‘slapping’ sound. To begin to slap tongue, first you must learn to use the back of your tongue to create a suction. Be warned that it can be very damaging to the tips of your reeds especially when you are learning so don’t use your good reeds to practice it! Use a plastic spoon at first. Turn it so it is facing downwards and press your tongue into the scoopy part. Then pull your tongue away and downward until the spoon pops off. Once you have mastered this do the same thing with a saxophone reed (one you don’t like and are willing to sacrifice.) Because a reed isn’t concave like a spoon, you will have to curve your tongue around the edges more. The very tip of the reed is the last to leave the tongue. Then with the reed on the mouthpiece and gooseneck, practice the same action but with your mouth around the mouthpiece in correct embouchure. If you find it hard to produce a percussive slap go back to just the reed to remember what it feels like. Once you can produce the percussive sound while keeping your mouth in a saxophone embouchure, add just a little resonance so that there is an identifiable note, like you are playing a very small staccato. Getting the right balance of resonance vs. slap will take some practice. What balance you use in repertoire will depend on context.

### Unpitched Slap or Open Mouth Slap

There is also a variation of slap tongue called open mouth slap tongue where you take your mouth off the mouthpiece as the reed slap. It produces an unpitched percussive attack. It begins the same way as normal slap tongue only differing in that you open your mouth at the same time as letting the reed go with your tongue.

### Inverse Slap

Inverse slap tongue is a percussive effect caused by exhaling through the saxophone with producing a tone then slapping the tongue onto the reed to stop the air. It is quieter and less resonant than conventional slap tonguing. Be sure to use a well formed embouchure and the back part of your tongue to produce as much sound as possible.

### Repertoire that Uses Slap Tonguing

* Slap Me by Barry Cockroft (slap tonguing)
* Ku Ku by Barry Cockroft (slap tonguing)
* Beat Me by Barry Cockroft (slap tonguing and inverse slap tonguing)
* Hide And Seek Intro by Joshua Redman
# Saxophone/Lesson 1.3

Students should already be familiar with the material in Lesson 1.2.

### The Note F

To play the note F press down All the keys for a G plus the index finger on the right hand.
F is notated here
Practice playing a long tone F for a whole breath of air.

### Semibreves and Semibreve Rests

A semibreve (American: whole note) is a note that lasts for four beats.
It looks like this:
A semibreve rest is four beats of silence. It looks like this:
This is the same as writing four crotchet rests or two minim rests.
Note that the minim (2 beat) rest sits above the middle line of the stave and the semibreve (4 beat) rest hangs from the second top line of the stave.

### Metronome Mark

A metronome is a device for maintaining a steady tempo or speed while playing. Free versions are available online. As this is an online course, this is being introduced early so that students have a clear idea of what speeds to aim for when playing the pieces. A metronome mark is text above the stave that gives a rhythmic division and the number of beats per minute.
For example:
Means that this piece has 100 crotchet beats per minute.

## Repertoire for this Lesson
### Piece 1.3.1

Next Lesson
# Saxophone/The Saxophone Family

The saxophone is a family of woodwind musical instruments. Each type of saxophone has a different size, pitch and key. There are four types of saxophone commonly used, although more do exist, they are very rare and are not yet covered in this text.

## Soprano Saxophone

One of the highest in pitch of the saxophones is the Bb Soprano Saxophone. A person who masters the soprano usually finds it easy to play the alto saxophone because of the mouthpiece size. The soprano comes in three shapes. The most common is the straight soprano, which looks like a brass clarinet, albeit with a conical shape, rather than a cylindrical one. The next is the curved soprano which looks like a mini-alto sax. The least common is the saxello, which looks like a straight soprano, but the bell faces front
There are two smaller varieties of saxophone, the sopranino (in Eb, an octave above the alto, in both straight and curved versions), and newly developed, the soprillo saxophone in Bb, an octave above the soprano, straight version only. The sopranino is sometimes used in saxophone choirs but the soprillo is almost never seen.

## Alto Saxophone

Lower in pitch than the soprano, and higher than the tenor, the alto sax is an E flat instrument. The notes range from low Bb to a high F, not including altissimo. It is the most popular member in the saxophone family simply because it is the easiest to play and master, especially among beginning students.
There are straight versions of the alto as well. Both LA Sax and Keilwirth make straight varieties of this sax, but it is again, uncommon. One of the most influential alto sax players in the Bebop era of the jazz scene is Charlie Parker, who was known for introducing flurries of 8th and 16th notes into improvised solos.

## Tenor Saxophone

This is probably the most famous and well known sounds in the music of today. It ranges from low Bb on the treble cleff to high F, and even higher with altissimo notes. Usually, the tenor is in the key of Bb, played by 80's musician, Eddie Money, and in 1952 the father of free jazz, John Coltrane. Sometimes they are placed in the key of C, which was most notably played by Lester Young.
The tenor sax is used in marching bands, concert bands, and jazz bands. In marching bands, they play close to the same thing as trombones and baritones. In concert bands, they act as a woodwind baritone if you will. In jazz bands, they have the most significant role in a big band setting. They are good instruments for improvisation and used in solo jazz settings.

## Baritone Saxophone

One of the lowest saxophones, the baritone is an E flat instrument. It is the largest common saxophone, and it is characterised by its unusual curled neck. There is also a straight baritone saxophone, but it is extremely rare.
There are lower pitched members of the saxophone family that do exist. The bass, contrabass, tubax, and subcontrabass tubax are members that plummet to the deepest pitches of the piano.
# Sensory Neuroscience: Hearing and speech/Sound

* physics
* key terms
* Fourier analysis
* fundamental frequency
* harmonics
* measuring sound
# Sensory Systems
## Table of Contents

* Cover

## Sensory Systems

* Introduction

## Human Anatomy and Physiology

* Visual System
* Auditory System
* Vestibular System
* Somatosensory System
* Olfactory System
* Gustatory System

### General Features

* Physiology of Pain
* Change of Sensory Processing Through Disuse
* Association Cortex

## Technological Aspects

* Neurosensory Implants
* Computer Models
* An Introduction to Control Systems

## Other Animals

* Birds
* Fish
* Other Marine Animals (Octupus, Jellyfish, ...)
* Arthropods (Spiders, Insects, Ants, ...)
* Other Non-Primates (Rodents, Snakes, ...)
* Interspecies Comparison of the Visual System

## Additional Information

* Authors
* Sources
* Appendices

## Preface

While the human brain may make us what we are, our sensory systems are our windows and doors to the world. In fact they are our ONLY windows and doors to the world. So when one of these systems fails, the corresponding part of our world is no longer accessible to us. Recent advances in engineering have made it possible to replace sensory systems by mechanical and electrical sensors, and to couple those sensors electronically to our nervous system. While to many this may sound futuristic and maybe even a bit scary, it can work magically. For the auditory system, so called “cochlea implants” have given thousands of patients who were completely deaf their hearing back, so that they can interact and communicate freely again with their family and friends. Many research groups are also exploring different approaches to retinal implants, in order to restore vision to the blind. And in 2010 the first patient has been implanted with a “vestibular implant”, to alleviate defects in his balance system.
The wikibook “Sensory Systems” wants to present our sensory systems from an engineering and information processing point of view. On the one hand, this provides some insight in the sometimes spectacular ingenuity and performance of our senses. On the other hand, it provides some understanding of how our senses transduce external information into signals that our central nervous system can work with, and how – and how well - this process can be replaced by technical components.
# Sensory Neuroscience: Hearing and speech/Outer & middle ear/pinna

The pinna is the visible part of the ear that resides outside of the head.

## Purpose

The purpose of the pinna is to collect sound. It does so by acting as a funnel, amplifying the sound and directing it to the ear canal. In mammals like cats and dogs, it is obviously highly directional, but even in humans, the pinna functions as a directional sound collector. The "sweet spot" for which the pinna best collects sound is called the acoustic axis or the acoustic fovea. In various species, the pinna can also signal mood and radiate heat.
The frequency at which the pinna becomes a directional sound collector can be calculated since it does so at frequencies such that the pinna is larger than the wavelength:
$\lambda \approx 0.25m$
$\lambda ={\frac {c}{f}}$
$f={\frac {c}{\lambda }}$
$f={\frac {343m/s}{0.025\cdot 4m}}$
$f=3430Hz$
# Sensory Neuroscience: Hearing and speech/Outer & middle ear/tympanic membrane

The eardrum (also tympanic membrane or tympanum), is a thin membrane that separates the external ear from the middle ear. Its function is to transmit sound from the air to the ossicles inside the middle ear. The malleus bone bridges(hammer,anvil) the gap between the eardrum and the other ossicles, and is attached along its long arm on the inner surface. As it is connected to the cardiac nerves of brain.

## Structure

The typanic membrane is formed of a double-layer of epithelial cells across it's entire surface. In addition, about 1/3 has another 2 layers of tougher, fibrous epithelial tissue (between the previously-mentioned two layers of cells), to which the long arm of the malleus is attached.
The section with only two layers of cells is pars flaccida, and is flaccid, weak, transparent, and damage to it causes no issues for hearing since it is not involved with transduction. When surgeons perform middle ear surgery, going through pars flaccida is the standard entrance.
The thicker section is pars tensa, and this is the section which transduces the vibrations. Damage to this section of the membrane results in altered hearing.
The umbo (C) is the point of deepest recession of the membrane and is the location of genesis of new epithelial cells, which migrate out towards the pinna as new cells are formed behind them. This migration occurs at about the same rate as the growth of fingernails. In addition, the malleus is attached along the length of its long arm to the inner surface, beginning at the umbo (so, the handle of the malleus is attached at the umbo).
The whole tympanic membrane is about $9mm$ across, with a surface area of $~81mm^{2}$ (not circular).
* Here, pars tensa is labelled as "tense portion of membrana tympani" and pars flaccida labelled as "flaccid portion of membrana tympani"
# Sensory Neuroscience: Hearing and speech/Sound/key terms
### Parameters for describing sound
#### Wavelength

    the distance between the endpoints of a cycle (two peaks, for example)
    usually measured in cm

#### Frequency

    number of oscillations in one second
    frequency is a physical property in the world, but pitch is the mental experience of that property (the "highness" of a sound)
    usually measured in Hz

#### Period

    time required for one oscillation
    usually measured in ms
$f={\frac {1}{T}}$ $\lambda ={\frac {c}{f}}$

#### Amplitude

    the magnitude of change in the pressure over one oscillation

#### Impedence

    the reluctance with which the medium can be forced into oscillation
# Sensory Neuroscience: Hearing and speech/Outer & middle ear/middle ear
## Function

The function of the middle ear is to get the sound energy which arrives at the tympanic membrane to the oval window of the cochlea.

### Ossicles

* Malleus
* Incus
* Stapes & footplate
* The arrangement of the ossicles.

#### Spring-like action

The ossicles do not move like the other joints in your body. That is, there is no flexion or extension. Instead, the ossicles vibrate as a unit, with the tensor tympani and stapedius muscles modulating the movement.

#### Purpose of the middle ear muscles: acoustic reflex
### Impedance mismatch problem

Fun fact
The quietest sound a normally-hearing human can detect vibrates their eardrum with an amplitude of less than the diameter of a hydrogen atom.
Recall that the more different the impedances for two mediums, the less acoustic energy will be transferred into the second medium (and the rest will be reflected). The middle ear faces an impedance mismatch problem since the sound energy is travelling from air into fluid (in the cochlea). According to the equation $\%{\text{amplitude transmission}}=4{\frac {Z_{1}\cdot Z_{2}}{[Z_{1}+Z_{2}]^{2}}}$, the reduction in amplitude due to this impedance mismatch is about 97% of the energy (that's 30dB less). Luckily the middle ear compensates for this mismatch in two ways:
* The $A_{\text{tympanic membrane}}:A_{\text{footplate}}$ ratio is large: ${\frac {\text{pars tensa}}{\text{stapes footplate}}}={\frac {59.4mm^{2}}{3.2mm^{2}}}=18.6$
* The length of the long arm of the malleus is $1.3\times$ longer than that of the incus. This produces a lever effect.
$18.6\times 1.3=24.2$, which is almost the 30dB amplitude loss the impedance mismatch problem would have created.
# Sensory Systems/Appendix
## Spectrum

If light passes through a prism, a colour spectrum will be formed at the other end of the prism ranging from red to violet. The wavelength of the red light is from 650nm to 700nm, and the violet light is at around 400nm to 420nm. This is the EM range detectable for the human eye.

## Colour Models

The colour triangle is often used to illustrate the colour-mixing effect. The triangle entangles the visible spectrum, and a white dot is located in the middle of the triangle. Because of additive colour mixing property of red (700nm), green(546nm) and blue(435nm), every colour can be produced by mixing those three colours.

## History of Sensory Systems

This Wikibook was started by engineers studying at ETH Zurich as part of the course Computational Simulations of Sensory Systems. The course combines physiology with an emphasis on the sensory systems, programming and signal processing. There is a plethora of information regarding these topics on the internet and in the literature, but there's a distinct lack of concise texts and books on the fusion of these 3 topics. The world needs a structured and thorough overview of biology and biological systems from an engineering point of view, which is what this book is trying to correct. We will start off with the Visual System, focusing on the biological and physiological aspects, mainly because this will be used in part to grade our performance in the course. The other part being the programming aspects have already been evaluated and graded. It is the authors' wishes that eventually information on physiology/biology, signal processing AND programming shall be added to each of the sensory systems. Also we hope that more sections will be added to extend the book in ways previously not thought of.
The original title of the Wikibook, Biological Machines, stressed the technical aspects of sensory system. However, as the wikibook evolved it became a comprehensive overview of human sensory systems, with additional emphasis on technical aspects of these systems. This focus is better represented with Sensory Systems, the new wikibook title since December 2011.
In 2015, the content became too big for the original structure. "Neurosensory Implants" and "Computer Models" became separate chapters, and the "Non-Primates" section was split, into "Arthropods" and "Other Animals".
# Radiation Oncology/Melanoma/Radiobiology

* Front Page: Radiation Oncology | RTOG Trials | Randomized Trials
Radiobiology for Malignant Melanoma
* Majority of retrospective data suggests that large fractional doses result in better outcomes than small fractional doses
* Two randomized trials were performed. Dutch trial compared large fractional doses (9 Gy vs. 5 Gy) and found no difference. RTOG compared large vs smaller fractional doses (8 Gy vs 2.5 Gy) and similarly found no difference
* Best conclusion that can be drawn is that at least 2.5 Gy/fx should be used
Randomized
Retrospective
MD Anderson Regimen
* Post-op RT 30/5 (6 Gy x 5 fractions)
* Normal tissue tolerance: spinal cord < 24 Gy, small bowel < 24 Gy
# Radiation Oncology/Melanoma/Hyperthermia

* Front Page: Radiation Oncology | RTOG Trials | Randomized Trials
Hyperthermia and Cutaneous Melanoma
Randomized
Retrospective
Review
# Radiation Oncology/Melanoma/Guidelines

* Front Page: Radiation Oncology | RTOG Trials | Randomized Trials
Melanoma Official Guidelines
National Comprehensive Cancer Network (NCCN)
Australian National Health and Medical Research Council (NHMRC)
European Society for Medical Oncology (ESMO)
German Dermatologic Cooperative Oncology Group (DeCOG)
# Radiation Oncology/Melanoma/RTOG

* Front Page: Radiation Oncology | RTOG Trials | Randomized Trials
RTOG Melanoma Trials
MELANOMA RTOG OPEN TRIALS :
| Number | Title |
| None | |
MELANOMA RTOG CLOSED TRIALS :
| Number | Title |
| 93-02 | A PROSPECTIVE RANDOMIZED PHASE III CLINICAL TRIAL EVALUATING THE USE OF POST-OPERATIVE ADJUVANT RADIOTHERAPY IN THE TREATMENT OF PATIENTS WITH CUTANEOUS MELANOMA OF THE HEAD AND NECK |
| 83-05 | Fraction size in external beam radiation therapy in the treatment of melanoma |
# 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: Socks.
* Laboratory 4: Backpack and laptop case covers.