OpenLLM-France/wikimedia huggingface dataset:
# Japanese mode

The Japanese mode is a pentatonic musical scale commonly used in traditional Japanese music. The intervals of the scale are major second, minor third, perfect fifth and minor sixth (such as the notes A, B, C, E, F and up to A ja:ヨナ抜き音階.), essentially a natural minor scale in Western music theory without the subdominant and subtonic, the same operation performed on the major scale to produce the pentatonic major scale.

## Quotes about the Japanese scale

* Friedman, Jason Becker and so many other greats have used this one. Give it a try in your soloing. It works well in minor and major key progressions. Also, with the b2 in there, it makes for a good choice when working in a Phrygian-style situation.
** Dave Reffett of Guitar World (June 1, 2015)
# Mode (music)

In music theory, the term mode or modus is used in a number of distinct senses, depending on context.
Its most common use may be described as a type of musical scale coupled with a set of characteristic melodic and harmonic behaviors. It is applied to major and minor keys as well as the seven diatonic modes (including the former as Ionian and Aeolian) which are defined by their starting note or tonic. (Olivier Messiaen's modes of limited transposition are strictly a scale type.) Related to the diatonic modes are the eight church modes or Gregorian modes, in which authentic and plagal forms of scales are distinguished by ambitus and tenor or reciting tone. Although both diatonic and Gregorian modes borrow terminology from ancient Greece, the Greek tonoi do not otherwise resemble their medieval/modern counterparts.
Previously, in the Middle Ages the term modus was used to describe intervals, individual notes, and rhythms. Modal rhythm was an essential feature of the modal notation system of the Notre-Dame school at the turn of the 12th century. In the mensural notation that emerged later, modus specifies the subdivision of the longa.
Outside of Western classical music, "mode" is sometimes used to embrace similar concepts such as Octoechos, maqam, pathet etc.

## Quotes about modes in music

* Don’t forget the different modes of the major scale. These can be very helpful. Learn them and practice how to apply them all over your fretboard.
** Dave Reffett of Guitar World (June 1, 2015)
# Vibrato

Vibrato (Italian, from past participle of "vibrare", to vibrate) is a musical effect consisting of a regular, pulsating change of pitch. It is used to add expression to vocal and instrumental music. Vibrato is typically characterized in terms of two factors: the amount of pitch variation ("extent of vibrato") and the speed with which the pitch is varied ("rate of vibrato").
In singing, it can occur spontaneously through variations in the larynx. The vibrato of a string instrument and wind instrument is an imitation of that vocal function. Vibrato can also be reproduced mechanically (Leslie speaker) or electronically as an audio effect close to chorus.

## Quotes about vibrato

* I don’t even think about it. I just do it. I think Gary [Holt – Slayer’s other guitarist] has a harder vibrato than I do. It’s your own personal style, and how it evolves depends on how much you want to make it sing on its own. It has a lot to do with muscle development and getting calluses at the end of your fingers. When we are rehearsing for tours, we go from working on new material with no leads at all to live show stuff that has lots of leads. Sometimes I have to call time on practice because my fingers are dust; I have to just go home. You’ve got to build up the stamina.
** Kerry King of Slayer, as quoted by Guitar.com (March 21, 2016)
# Vibrato systems for guitar

A vibrato system on a guitar is a mechanical device used to temporarily change the pitch of the strings. It adds vibrato to the sound by changing the tension of the strings, typically at the bridge or tailpiece of an electric guitar using a controlling lever, which is alternately referred to as a whammy bar, vibrato bar, or tremolo arm. The lever enables the player to quickly and temporarily vary the tension and sometimes length of the strings, changing the pitch to create a vibrato, portamento, or pitch bend effect. Instruments without a vibrato have other bridge and tailpiece systems.
The pitch-bending effects have become an important part of many styles, allowing creation of sounds that could not be played without the device, such as the 1980s-era shred guitar "dive bomb" effect.

## Quotes about vibrato systems for guitar

* Stay away from the whammy until you’re out of ideas, because it is way too easy to rely on it. Of course, there’s a skill to it. When you’re playing something, it’s so easy to go to the bar and hit it and it sounds great. That’s why I try to stay away from it – you can get tunnel vision and get married to your bar. [...] You want to use the whammy bar as an accent, not something you rely on. Sometimes, yeah, you need a big divebomb and you want to hit a harmonic and bend the fuck out of it, and I’ve done that too many times in my career.
** Kerry King of Slayer, as quoted by Guitar.com (March 21, 2016)
# Dive bomb (guitar technique)

The Dive bomb is a guitar technique in which the tremolo bar, or whammy bar is used to rapidly lower the pitch of a note, creating a sound considered to be similar to a bomb dropping. One of the most recognized pioneers of this technique is Jimi Hendrix. Other musicians who used this technique are Ritchie Blackmore, Dave Murray, Herman Li, Eddie Van Halen, Randy Rhoads, Brian May, Joe Satriani and Tom Scholz of Boston. Some guitarists, such as K.K. Downing, Glenn Tipton, Jeff Hanneman and Dimebag Darrell have used a variation of this technique in which a harmonic, most commonly a pinch harmonic, is used instead of a normal fretted or open note creating a sound arguably closer to that of a bomb due to the squealing sound created by the harmonic.

## Quotes about the dive bomb guitar technique

* Stay away from the whammy until you’re out of ideas, because it is way too easy to rely on it. Of course, there’s a skill to it. When you’re playing something, it’s so easy to go to the bar and hit it and it sounds great. That’s why I try to stay away from it – you can get tunnel vision and get married to your bar. [...] You want to use the whammy bar as an accent, not something you rely on. Sometimes, yeah, you need a big divebomb and you want to hit a harmonic and bend the fuck out of it, and I’ve done that too many times in my career.
** Kerry King of Slayer, as quoted by Guitar.com (March 21, 2016)
# Rhythm guitar

In music performances, rhythm guitar is a technique and role that performs a combination of two functions: to provide all or part of the rhythmic pulse in conjunction with other instruments from the rhythm section (e.g., drum kit, bass guitar); and to provide all or part of the harmony, i.e. the chords from a song's chord progression, where a chord is a group of notes played together. Therefore, the basic technique of rhythm guitar is to hold down a series of chords with the fretting hand while strumming or fingerpicking rhythmically with the other hand. More developed rhythm techniques include arpeggios, damping, riffs, chord solos, and complex strums.
In ensembles or bands playing within the acoustic, country, blues, rock or metal genres (among others), a guitarist playing the rhythm part of a composition plays the role of supporting the melodic lines and improvised solos played on the lead instrument or instruments, be they strings, wind, brass, keyboard or even percussion instruments, or simply the human voice, in the sense of playing steadily throughout the piece, whereas lead instruments and singers switch between carrying the main or countermelody and falling silent.

## Quotes about rhythm guitar

* Never, ever underestimate the power of a rhythm guitar player. Sure, they might not be doing all those flashy solos that make you guys all wet like screaming groupie fangirls. But without the strong background they're providing there'd be no song to play a solo over. Just like the legendary Steve Lukather – who's probably one of the best solo players of all time – said, many kids today spend their time learning all sorts of tricks but they forget about the most important thing – playing in groove. As cliche as this may sound, rock 'n' roll would probably never survive without them.
** David Slavković of Ultimate-Guitar (Jun 25, 2018)
* It doesn’t matter how great your lead playing is—if your rhythm work sucks, you’re not gonna go very far. When you’re playing rhythm in a band like Metallica, what your right [picking] hand does is really important. Obviously, what your left hand is doing is pretty darned crucial too, but, as a lot of our riffs involve syncopated open-string notes and relatively simple-to-finger power chords, it’s often the right-hand picking and muting techniques that can make or break a song.
** Kirk Hammett of Metallica
# Shred guitar

Shred guitar is a virtuosic style of electric guitar performance. Categorized by its use of advanced techniques, shredding is a complex art form. Shred guitar includes fast alternate picking, sweep-picking, diminished and harmonic minor scales, tapping, and whammy bar use. Often incorporated in heavy metal, guitarists employ a guitar amplifier and a range of effects such as distortion. This creates a sustained guitar tone and may facilitate guitar feedback.
The term is sometimes used in reference to virtuosic playing by instrumentalists other than guitarists as well. The term "shred" is used outside the metal idiom, particularly by bluegrass musicians and jazz-rock fusion electric guitarists.

## Quotes about shred guitar

* Shred cannot be confined to one genre of music: it’s evident in rock, metal, neo-classical, jazz and fusion styles. It’s been around for a long time too.
** Total Guitar of MusicRadar (13 June 2011)
* When the so-called grunge revolution hit in the early '90s, it brought a backlash against shredding. Seemingly overnight, it became fashionable to make fun of guys like Eddie Van Halen, who, at 23, single-handedly launched a musical movement, while extolling the virtues of the Kurt Cobains. Granted, it could be argued that the whole tapping/whammy bar/shred thing started to become gratuitous and perhaps even cartoonish by the end of the '80s. Guitarists became divided over feel vs. technique, and those in the former camp would pillory anyone from Michael Angelo Batio to Steve Lukather, accusing them of having no passion or emotion in their playing.
** Matt Scharfglass of Guitar World (June 22, 2011)
# Slide guitar

Slide guitar is a technique for playing the guitar that is often used in blues music. It involves playing a guitar while holding a hard object (a slide) against the strings, creating the opportunity for glissando effects and deep vibratos that reflect characteristics of the human singing voice. It typically involves playing the guitar in the traditional position (flat against the body) with the use of a slide fitted on one of the guitarist's fingers. The slide may be a metal or glass tube, such as the neck of a bottle, giving rise to the term bottleneck guitar to describe this type of playing. The strings are typically plucked (not strummed) while the slide is moved over the strings to change the pitch. The guitar may also be placed on the player's lap and played with a hand-held bar (lap steel guitar).
Creating music with a slide of some type has been traced back to African stringed instruments and also to the origin of the steel guitar in Hawaii. Near the beginning of the twentieth century, blues musicians in the Mississippi Delta popularized the bottleneck slide guitar style, and the first recording of slide guitar was by Sylvester Weaver in 1923. Since the 1930s, performers including Robert Johnson, Robert Nighthawk, Earl Hooker, Elmore James, and Muddy Waters popularized slide guitar in electric blues and influenced later slide guitarists in rock music, including the Rolling Stones, George Harrison, Duane Allman, and Ry Cooder. Lap slide guitar pioneers include Oscar "Buddy" Woods, "Black Ace" Turner, and Freddie Roulette.

## Quotes about slide guitar

* For an instrument that’s so heavily dependent upon shredding scales and fancy chords today, it’s amazing that slide guitar still manages to blow the minds of listeners almost a century after being popularised by the American bluesmen of the early 20th century.
** Will Brewster of Mixdown (January 13, 2025)
# Heavy metal guitar

Heavy metal guitar (or simply metal guitar) is the use of highly-amplified electric guitar in heavy metal. and it uses a massive sound, characterized by highly amplified distortion, extended guitar solos and overall loudness. The electric guitar and the sonic power that it projects through amplification has historically been the key element in heavy metal. The heavy metal guitar sound comes from a combined use of high volumes and heavy distortion.

## Quotes about heavy metal guitar

* An essential technique aspiring thrash metal guitarists must master is the ability to perform fast single-note riffs and power-chord figures using only downstrokes. Two classic examples immediately come to mind: Metallica’s “Master of Puppets” and Megadeth’s “Hanger 18,” and there are, of course, many more great examples of relentless downpicked fury to be found in the world of metal. [...] To me, a relentless downstroke-driven pick attack is the only way to get certain riffs to jump out of the guitar with the aggressiveness necessary to make them sound as heavy and menacing as possible.
# Heavy metal bass

Heavy metal bass is the use of the bass guitar (also called "electric bass") in the rock music genres of heavy metal and hard rock. The bassist is part of the rhythm section in a heavy metal band, along with the drummer, rhythm guitarist and, in some bands, a keyboard player. The prominent role of the bass is key to the metal sound, and the interplay of bass and distorted electric guitar is a central element of metal. The bass guitar provides the low-end sound crucial to making the music "heavy". The bass plays a crucial role in heavy metal and a more important role than in traditional rock.

## Quotes about heavy metal bass

* You know, [whether to play with pick or with fingers] is a choice that bass players in this kind of music have to make. Sometimes it makes sense to try and go as fast as you can, even if it is a little jumbled, maybe in a tremolo picking part. If both guitar players aren’t quite lining up anyway, then I think it’s okay to have things sound a little jumbled. It gives it a frantic sound, and that might be exactly what you’re going for.
** Alex Webster of Cannibal Corpse
# Trill (music)

The trill (or shake, as it was known from the 16th until the early 20th century) is a musical ornament consisting of a rapid alternation between two adjacent notes, usually a semitone or tone apart, which can be identified with the context of the trill (compare mordent and tremolo). It is sometimes referred to by the German Triller, the Italian trillo, the French trille or the Spanish trino. A cadential trill is a trill associated with each cadence. A groppo or gruppo is a specific type of cadential trill which alternates with the auxiliary note directly above it and ends with a musical turn as additional ornamentation.
A trill provides rhythmic interest, melodic interest, and—through dissonance—harmonic interest. Sometimes it is expected that the trill will end with a turn (by sounding the note below rather than the note above the principal note, immediately before the last sounding of the principal note), or some other variation. Such variations are often marked with a few appoggiaturas following the note bearing the trill indication.

## Quotes about the trill in music

* Historically, the trill has acquired associations with doom, gloom, and even the occult. More specifically, two noteworthy composers, Guiseppe Tartini and Franz Schubert, adopted the trill to express a sense of melancholy in some of the most definitive pieces of their oeuvre. While these composers were certainly not the only ones to use the trill in incisive ways, their use of the classic embellishment distinguished their work.
** Zach Painter of Vice News (September 13, 2017)
* The trill [is] a technique that early composers used due to its rhythmic, melodic, and harmonic properties. By rapidly alternating between two adjacent notes—usually a half-step or whole-step apart—composers could create a brief sense of dissonance and tension that clashed with the tonality of the respective piece. The trill naturally creates a sense of tension, and when used properly, it lends itself well to somber moods and melodies. Metal musicians picked up on this early on and, by passing it down through the airwaves, have made it a hallmark of heavy music today.
** Zach Painter of Vice News (September 13, 2017)
* When Tony Iommi deified himself in 1970 by unleashing upon the world that seminal riff from Black Sabbath’s infamous title track, he not only laid the groundwork for the future of heavy metal music, he also single-handedly executed one of the most noteworthy trills in rock ‘n’ roll history. Combined with the sound of pouring rain and the ominous ringing of the bell, his use of the trill on “Black Sabbath” demonstrated the latent power the classical embellishment has always held, but had hitherto never been actualized with proper amplification.
** Zach Painter of Vice News (September 13, 2017)
# Alfred Billings Street

Alfred Billings Street (December 18, 1811 – June 2, 1881) was an American writer and poet.

## Quotes

* Nature is Man’s teacher. She unfolds Her treasures to his search, unseals his eye, Illumes his mind and purifies his heart. An influence breathes from all the sights and sounds Of her existence.
** "Nature", Drawings and Tintings (1844), p. 4
* Bright is the beautiful land of our birth, The home of the homeless all over the earth.
** "Song for Independence", Drawings and Tintings (1844), p. 21

## External links

* Tryon Edwards (ed.) A Dictionary of Thoughts (New York: Cassell, 1891), pp. 17, 373
# Joshua D. Rothman

Joshua Daniel Rothman is an American historian. He is a professor and chair for the department of history at the University of Alabama.

## Quotes

* [During slavery,] Americans built a culture of speculation unique in its abandon.
** Flush Times and Fever Dreams: A Story of Capitalism and Slavery in the Age of Jackson (2012), as quoted in Matthew Desmond, "In order to understand the brutality of American capitalism, you have to start on the plantation", The New York Times Magazine (August 14, 2019)

## External links

* Encyclopedic article on Joshua D. Rothman on Wikipedia
# George Percy (governor)

George Percy (1580 – 1632) was an English explorer, author, and early Colonial Governor of Virginia.

## Quotes

* Now all of us at Jamestown, beginning to feel that sharp prick of hunger, which no man (can) truly describe but he which hath tasted the bitterness thereof, a world of miseries ensued...
** A True Relation of the Proceedings... in Virginia (c. 1624); an account of the "Starving Time" (1609–1610). Reported in Conway Whittle Sams, The Conquest of Virginia: The Third Attempt, 1610–1624 (New York: G. P. Putnam's Sons, 1939), p. 103

## See also

* Cannibalism in the Americas

## External links

* "The Starving Time, Jamestown, 1610, Henry Hart", Virginia Commonwealth University (Fall 2002)
# Happy New Year, Charlie Brown!

Happy New Year, Charlie Brown! (1986) is the 30th prime-time animated television special based upon the popular comic strip Peanuts, by Charles M. Schulz. It aired on the CBS network on January 1, 1986. The special focuses on Charlie Brown's difficulty finishing a book report over the holidays.

## Dialogue

    Charlie Brown: Oh, no. I can't believe it. We've supposed to read War and Peace by Leo Tolstoy.
    Linus: How are you doing with War and Peace, Charlie Brown?
    Charlie Brown: I just finished reading the dust jacket.
    Linus: Many is the book report that has been written by just reading the dust jacket.
    Charlie Brown: But, it's such a long book, Linus. Look, it's $1,136$ pages long.
    Charlie Brown: I've written an invitation to the Little Red-Haired Girl. I was afraid to call her. It's too late to mail it, so I thought I'd take it to her house, but I'm worried.
    Linus van Pelt: Why? All you have to do is slip the letter into the mail slot in the front door of the house.
    Charlie Brown: But what if my hand gets caught in the mail slot?
    Linus van Pelt: That's ridiculous, Charlie Brown!
    Charlie Brown: Well then, what if my hand gets caught in the mail slot, and while I'm hanging there, someone opens the door?
    Linus van Pelt: Charlie Brown, you worry about the most impossible things.
    Linus van Pelt: Hurry up, Charlie Brown. We'll be late for school.
    Charlie Brown: ( yawns )
    Linus van Pelt: Do you finish War and Peace, Charlie Brown?
    Charlie Brown: I finished at $3$ o'clock this morning.
    Linus van Pelt: How did you like it, Charlie Brown?
    Charlie Brown: I don't remember a thing.
    Linus van Pelt: Did you turn in your report?
    Charlie Brown: Yes.
    Linus van Pelt: What did the teacher say about it? What grade did you get?
    Charlie Brown: A D minus - the lowest grade without failing.
    Linus van Pelt: Gee, I'm sorry, Charlie Brown.
    Charlie Brown: The teacher said it looked like the sort of report that was written after midnight on the last day of Christmas vacation.
    Linus van Pelt: What did you say?
    Charlie Brown: What could I say? I congratulated her on her remarkable insight.
    Linus van Pelt: Did you see what our next assignment is?
    Charlie Brown: No! What is it?
    Linus van Pelt: To read "Crime and Punishment" by Dostoevsky.
    [Charlie Brown faints off his desk]
    Linus van Pelt: Happy New Year, Charlie Brown.

## Cast

* Chad Allen - Charlie Brown
* Jeremy Miller - Linus van Pelt
* Melissa Guzzi - Lucy van Pelt
* Kristi Baker - Peppermint Paty
* Elizabeth Lyn Fraser - Sally Brown
* Aron Mandelbaum - Schroeder
* Jason Mendelson - Marcie
* Bill Melendez - Snoopy, Woodstock

## External links

* Happy New Year, Charlie Brown! quotes at the Internet Movie Database
# Takamine (guitar manufacturer)

Takamine Musical Instruments Manufacturing Co., Ltd. (株式会社 高峰楽器製作所, Kabushiki-gaisha Takamine Gakki Seisakusho, pronounced [takaꜜminé] ta-ka-mee-ne) is a Japanese guitar manufacturer based in Nakatsugawa, Gifu, Japan. It's considered to be one of the world's major brands of steel-string acoustic guitars. In 1978, it was of the first guitar companies to introduce acoustic-electric models, where they pioneered the design of the preamplifier-equalizer component by introducing its signature "Palathetic Pickup".

## Quotes about Takamine

* Best for playing live, Takamine is probably most known for pioneering electric-acoustic technology, and for being one of the first companies to offer acoustic guitars that could be plugged into an amplifier. The development of the under-saddle Palathetic pickup will go down in history as a massive moment for the acoustic guitar. This new pickup allowed acoustic players to achieve a natural and realistic amplified sound and with quickly embraced by many of the biggest names in the late '70s.
** Daryl Robertson of Guitar World (May 24, 2023)