Rabu, 31 Agustus 2011

6 Kick - Ass Guitar Playing

Lack of references guitar technique will make people become less confident and seemed less experienced in playing the guitar, this kind of skill is not only obtained in a short time. But a brief moment in hawah 5 might help if you practice it consistently for at least 2 months, and every day selamma 1 to 2 hours.

Kick 1: Do not Forget Lock

The key is the lifeblood of the guitar. Without the key, even though we know all the tricks rhythm, guaranteed we will never know what kind of sound. Learn all the basic keys such as C, D, E, F, (3, A, B) and all forms of minor and # (except for use of Bb Key B). Usually a book about these keys are sold freely on the market. One tip to remember, in fact its shape is so-so only. Do not be dizzy with different names. Example: if the key of C is shifted as far as 2nd fret D will generate keys, but the same shape, only its location berbeda.silahkan understood the key layout and the pattern, because basically the key is a combination of various tones

Kick-2: Two Basic Technique

Excerpt: When picking a guitar, does not need to be thought of as the song "Another Day" by Dream Theater. In contrast, Pick with 3 simple as the following example:

Note the position of the fingers: the thumb for 3 stringed bass, while the other three strings are plucked by the third finger on the image.
Simplification: thumb = 1, index finger = 2, middle finger and ring finger = 3 = 4.
1. L 1-2-3.4.3-2 with moving bass
2. 1-2-3-4-2 with 34 drawn together
3. 1234 with 234 concurrent learned as much as 3x.

Once you nmencoba three, Combine all TECHNIQUE! Play a song KKEB not a dream anymore.

Rhythm: This is something that is actually simple. If other street just good technique, why do not we? The main reason this incapacity is the lack of exercise. If you're really serious, take the time to train at least 1 hour a day. Exercise: For simple rhythm rhythm is divided into downward and upward. For downward and upward = l = 2.
1. 1-1-2-2-1
2. 1-2-2-1-2-2-1

Kick 3. Do not Forget to Bring Songbook

Now the book of songs Praise & Worship is commonly used and are sold freely on the market. Usually what is listed in books of this kind have been simplified so that sings it too easy.

Kick 4: Practicing Running Chord To sing praises

Before we can bring others to experience a wonderful time in praise & praise to Him, we must experience it first. Try to keep silence with praise to Him by using a running chord 4 / 4 such as (if playing in the key of C): CF, C-AmDm-G, F-Em-Dm-G. The more often sung, the more honed your feeling and you will be amazed at your skill development.

Kick 5; Learn the chord as a basic melody

chord is a combination of several tones are formed that produce the same sound, combined with a sound basis lainnya.chord have scales in accordance with the basic chord when the chord minor scales will adjust the minor and major conversely, an example is the combination of C Chord tones E, C, G is compiled, we can explore the chord once we know the basic chords and then develop according to desire kita.dan makes a basic chord melody of the

Kick 6: Should Self-Confidence

Confident! That's the best thing. While you are doing a lot of mistakes (especially the usually wrong key), just continue to laugh with your friends. Guaranteed, they'd all smile. in the end, not the guitar / singing we are accepted by Him, but the sincerity of our hearts .**

Senin, 29 Agustus 2011

Justin Bieber – U Smile

D C G
Oh
D C G D
Yeah Hmm
C
I wait on you
G
Forever Any day
D
Hand and foot
C
Your world
G
Is my world

Yeah
D
Ain’t no way You ever
C G
Gonna get any Less than you should

F
Cause baby
C
You smile
G
I smile

Whoaah
F
Cause whenever
C
You smile
G
I smile
D
Hey, hey hey
C
Your lips
G
My biggest weakness


C
You smile
G
I smile
F
Whoaah
C
You smile
G
I smile

Hey
D
Baby take my
C
Open heart And all it offers
Cause this is as
D C
Unconditional as it’ll
Ever get you ain’t
D
Seen nothing yet
I won’t ever
C
Hesitate
To give you more
F
Cause baby
C
You smile
G
I smile
F
Hey
C
You smile
G
I smile
F
Hey, hey, hey
C
You smile
G
I smile
F
I smile, I smile, I smile
C
You smile
F
I smile

Take me smile baby


F
Hey
C
You smile
G
I smile
F
Whoaah
C
You smile
G
I smile
F
Hey, hey, hey
C
You smile
G
I smile
F
I smile, I smile, I smile
C
You smile
G
I smile
F C
You smile
G
I smile
F C
You smile
G
I smile

A few lyric and chord guitar from Justin, may be useful for fans or fans of Justin Bieber

Trial Outcome Itsbat Eid al-Fitr 1432 H Fall Day Wednesday, August 31, 2011

Jakarta (Pinmas) - Following the results of ithbat trial, the government sets the Eid al-Fitr 1432 AH falls on Wednesday, August 31, 2011. Determination is contained in the decision of the Minister of Religious Affairs No. 148 of 2011 dated August 29, 2011 on the Determination 1 Syawal 1432 H.

"Summing it clear that 1 Syawal 1432 Hijrah falls on Wednesday, August 31 whether it be approved?" Minister of Religious Affairs Ali answered Suryadharma trial participants agreed on the operation room Religious Affairs Ministry on Monday (29 / 8) night. The trial was attended by ambassadors and representatives of Islamic countries, KH Maruf MUI Chairman Amien, chairman of the Islamic mass organizations, officials and the Director General of the Religious Kemenag Supreme Court, Wahyu.

Menag also responded to the demand of Islamic mass organizations that the government should facilitate a meeting to agree on the same criteria in determining the start of Ramadan, Shawwal and Eid al-Adha one so there is no longer a difference in Indonesia in setting those days. "The differences there are still opportunities, but announcement made at the same time," he said.

Earlier, Chairman of the Religious Affairs Ministry Hisab Rukyat Ahmad Jauhari reported the results of monitoring at 96 locations from Banda Aceh to Papua, 30 sites reported not seeing the new moon (new moon). "There were also reports from Jepara and Cakung at 17:56 o'clock they saw the new moon," Jauhari said.

Jauhari explained, astral conjunction (meeting end of the month and the beginning of a new month) before Syawal falls on Monday, August 29th or 29th of Ramadan so that at sunset the position of the new moon is above the horizon with an altitude of 0 degrees 8 minutes and 1 degree 53 minutes. Thus Ramadan fulfilled to 30 days (istikmal) and 1 Syawal falls on Wednesday, August 31, 2011.

MUI Chairman KH Maruf Amin said the MUI fatwa in 2004 that the determination by the method rukyat and reckoning. In addition the public must follow the determination by the government. Regarding the report from Jepara and Cakung, kiai Maruf said if the report should be supported with adequate knowledge. "If the expert reckoning states may not have to be rejected," he said.

Thus there is a difference with the determination of PP Muhammadiyah with maklumatnya has set the date 1 Syawal falls on Tuesday, August 30, 2011. While the almanac NU based computation set on August 31, 2011.

Chairman of the Standing Committee Falakiah NU, KH Masroeri Ghozali said, NU observations at some point also did not see the moon. "Prediction almanac NU, 1 Syawal falls on Wednesday, August 31. While the report rukyatul hilal NU, 90 points does not work" he said.

Fatah Wibisono, the Board of Muhammadiyah revealed, it remains Eid al-Fitr on August 30. However, he requested that this difference is not an issue and we all keep the Muslim brotherhood. "We appealed to the Eid al-Fitr tomorrow is not attractive," he said

Based on the results of computation are the central leadership to set a date Muhammadiyah 1 Syawal 1432 H falls on Tuesday, August 30, 2011 AD

Determination of 1 Syawal today is based on the reckoning munjib and see the moon. We calculate 1 Syawal falls on this day based on the calculation that starts from the year before Eid, "said Edizon Revindo after Id prayers.

Described, the congregation Naqsyabandiyah to determine the entry and 1 month of Shawwal Rahmadan using two calculations, namely by calculating the lunar calendar back and look at the moon.

"If using the calculation method of reckoning munjib or calendar based on a count of 360 days from the beginning of Idul Fitri 2010, then for this year's Eid falls on August 29. If you look at the moon, when the moon was visible then 1 Shawwal is near," he said.

Dul-Fitr prayers at the mosque Baitul Makmur went well and although a number of pilgrims fervently pleaded not understand the sermon delivered in Arabic it.

After prayers, each of the pilgrims stay in touch and forgive each other. They also celebrated Eid in the mosque with a tasting cake that brought pilgrims from home.

Meanwhile, Central Board of Muhammadiyah has emutuskan widths coincide on Tuesday, August 30.

Session ithbat

Government in this case the Ministry of Religious Affairs (Kemenag) will hold a hearing to determine ithbat fall on 1 Syawal 1432 Hijrah or Hari Raya Idul Fitri. Session will be chaired by the Minister of Religious Affairs Ali Suryadharma.

Isbath Session will begin at 16:30 GMT, Monday (8/29/2011), with a presentation ceremony of the new moon observations. After the cut by a joint iftar, the trial will be re-opened at 19.00 pm.

Most likely, the results of the trial ithbat afternoon until tonight will decide that 1 Syawal falls on Wednesday (31 / 8) future. Because, when it is impossible to be able to see the new moon.

"We've agreed with many stakeholders such as astronomers, Navy, BPPT, and astronomers because the position of the moon is very low, ie 0 degrees 8 minutes and 1 degree 53 minutes, so it is very unlikely to see the moon," said Director General of Islamic Guidance Kemenag Nasaruddin Umar told AFP.

"Thus, the possibility of a fall on Wednesday Shawwal 31," said Nasaruddin.

According Nasaruddin, he does not question among Muslims who will perform Eid prayer service on Tuesday (30 / 8), tomorrow. However, he also asked the government's decision will be respected.

Earlier, Chairman of Muhammadiyah has set a Shawwal 1432 Hijri fell on Tuesday 30 August. The decision generated by suction intrinsic wujudul moon made the Legal Affairs Committee.

High moon at sunset in Yogyakarta signifies new moon had come into being and in all parts of Indonesia at the time of sunset moon was on the horizon.

"Based on the results of computation are the central leadership to set a date Muhammadiyah 1 Syawal 1432 H falls on Tuesday, August 30, 2011 AD," said Chairman of Muhammadiyah Haedar Nasir. (Dh)

Astronomers set Eid in Indonesia fell 31 August 2011

Shawwal or Lebaran day will be starting 29 to 30 August 2011 in a number of places. However, some astronomers in Bandung believes the new moon will be visible on August 30 evening, which means Fitri falls on August 31, 2011.

Researchers in the field of the sun and space-Lapan Bandung, Abdul Rachman, said when monitored (rukyah) on 29 Ramadan position of the moon is still low. Height below two degrees. "Usually used at least two degrees higher, the same as in astronomical terms," he said, Tuesday, August 22, 2011.

Evan Irawan Akbar, a spokesman for Bosscha Observatory, adding very difficult to see the emergence of new moons position is very close to the sun at sunset. These conditions sometimes lead to other views. "The light of the new moon's crescent-shaped very thin," he said.

However, based on the experience of previous years, said Abdul Rachman remain alone monitors who could see the emergence of a new moon high although below two degrees. The possibility that viewed it as Venus, or the sunlight that passes through a cloud gap. Based on the results of the simulation, altitude months in Indonesia the average ranges from 10-14 degrees on the 30th of Ramadan evening.

Sabtu, 27 Agustus 2011

Guitar Tabs "Another Day" by Dream Theater

Dream Theatre - Another Day - transcribed by adimusic
Key:

^    = hammer/pull
/     = slide
(b) = bend
~   = vibrato
~~ = heavy vibrato
t    = trill (repeated hammers/pulls)
ah  = artificial (pinched) harmonic

Intro: (guitar + piano arranged for guitar)

E ------------------------------------------
B --0--------0-----------0--------0---------
G ------3-------3------------3-------3-3---- (repeat)
D --------4-------4------------4---------4--
A --------------------------------4---------
E --4--------2--------2--0-------------2----


Intro solo:

G#m F# E C# F# G#m F# C#
E ----------------------------------------------------------------------------
B --12~---11--9--------------------------------------------------------11--13~
G --------------8~\--------------/8--6----------------------------------------
D ------------------------/6--9----------9--8---9^11^9~-----11--8~--8/9-------
A ----------------------------------------------------------------------------
E ----------------------------------------------------------------------------

E
E ----------14~-
B --11-12-------
G --------------
D --------------
A --------------
E --------------


Rhythm fig. 1: (volume swells)
E -------------------------------------------------------------
B ---------------------------------------------7------5--------
G --4---6---8------9------8------6------4--------------------4-
D -------------------------------------------------------------
A -------------------------------------------------------------
E -------------------------------------------------------------


Verse 1: (piano arranged for guitar)

G#m G#m+5 F#sus4 F#maj Emaj
E ------------------------------------------------2-------4-----------
B --4------4-----5-----5-----4-----4--------2-----2-------5-----5-----
G --4------4-----4-----4-----4-----4--------4-----3-------4-----4-----
D --6---6-----6-----6-----6-----6-----6-----4--4-----4-------6-----6--
A --------------------------------------------------------------------
E --4------------4-----------4--------------2-------------0-----------

Live another day, climb a little higher. Find


(w/rhythm fig. 1)
Bmaj Amaj F#sus4 F#maj G#m G#m+5
E --2--------------0-----0---------------------------------4-------------4--
B --4-----4--------2-----2--------2-----2---------4-------------5-----------
G --4-----4--------2--2-----2-----4-----3---------4------4------4------4----
D --4--4-----4--------------------4--4-----4------6---6------6--6---6------6
A --2--------------0--------------------------------------------------------
E --------------------------------2---------------4-------------4-----------

another reason to stay. Ashes in your hands,


G#m F#sus4 F#maj Emaj Bmaj Amaj Emaj
mercy in your eyes. If you're searching for a silent sky...


Chorus:

E --------------0-------------0--------------0-----------0------
B ----------0-------------0--------------0-------------4---4----
G ------6---------------8--------------9-------------4-------4--
D ----6---6-----------9--------------9--------------------------
A --4---------------6--------------7---------------2------------
E --------------------------------------------------------------

You won't find it here. Look another way.


E --------------0-------------0--------------0------------------
B ----------0-------------0--------------0---------------0------
G ------6---------------8--------------9---------------3----3---
D ----6---6-----------9--------------9---------------4--------4-
A --4---------------6--------------7----------------------------
E -------------------------------------------------2------------

You won't find it here. So die another day.


Sax solo: (same as intro solo, but raised an octave + minor variations)
E -------------------------------------------------------------------------
B ---------0-----------0-----------0-----------0----------0-----------0----
G -------3---3-------3---3-------3---3-------3---3------3---3-------3---3--
D -----4-----------4-----------4-----------4----------4-----------4--------
A --------------------------------------4----------------------------------
E --4----------2-------------0---------------------4----------2------------

E -----------0--
B ---------0----
G -------6------
D -----6--------
A --------------
E --0-----------


Verse 2:

(pick through verse 1 chords)

The coldness of his words. The message in his silence.
"Face the candle to the wind..."

(sax arranged for guitar)
E --/19-19-----------------------
B ----------19-19-17--17--16-----
G ---------------------------16--
D -------------------------------
A -------------------------------
E -------------------------------

This distance in my voice. Isn't leaving you a choice.
So if you're looking for a time to run away...

(chorus)

ah
E ----------------------------
B ----------------------------
G ----------------------------
D --4~---2-2-1----------------
A -------------4-2-4-2-1------
E -----------------------4-2--
|<--- palm mute -->|


(arranged for 2 guitars - E and B strings are clean, chords distorted)
E --------------0-------------------------------0---------------------
B -----4-----------------4--------------4--------------4--------------
G --4----------------------------2------------------------------------
D --4----------------------------2------------------------------------
A --2----------------------------0------------------------------------
E --------------------------------------------------------------4~----

They took pictures of our dreams, ran to hide behind the stairs


E ----------0----------------------------0--------------0--
B --4-------------4-------------------4--------------4----- (play twice,
G ---------------------------------4--------------4-------- with lyrics
D ---------------------------4----------------2------------ 2nd time)
A ---------------------------4----------------2------------
E ---------------------------2----------------0------------

And said maybe when it's right for you, they'll fall.


G C
E --------------------------------------------0-----------------------------
B -----------3----------------------------1--------1------------------------
G --------0-----2----0-----------------0------------------------------------
D -----0----------------------------2---------------------------------------
A -------------------------------3------------------------------------------
E --3-----------------------------------------------------------------------

But if they don't come down, resist the need to pull them in.


D/F# E D C
E --------------0----------------------------------------------------------
B -----------3-----3------------------------------0------------3-----------
G -------2---------------------------0---------0------------5-----5--------
D --0-----------------------------4---------4------------5-----------5-----
A -----------------------------7---------5------------3-----------------3--
E --------------------------0----------------------------------------------

And throw them away. Better to save the mystery,


Bsus4 Bmaj
E --------------------------------------------------------------------------
B --5-----4-----------------------------------------------------------------
G --4-----4-----------------------------------------------------------------
D --4-----4----------------2---2---------------2---2--------4---4--4--4--4--
A --2-----2------------2-5---------5-2-----2-5--------5-2---4---4--4--4--4--
E -----------------0-------------------0--------------------2---2--2--2--2--

Than surrender to the secret...


Solo:

G#m G#m+5 G#m F#sus4
E -------- -----------------------------------------------------------------
B 11(b)12- -(b)12-11-9--11(b)12~~---9--12(b)14-(b)14-12~---11^12^11---------
G -------- ---------------------------------------------------------11------
D -------- ------------------------------------------------------------\11~-
A -------- -----------------------------------------------------------------
E -------- -----------------------------------------------------------------

E B A F#sus4
E --------------------------------------------------------------------------
B ---------------12~--------------------------------------------------------
G ---------8-9~-------8(b)9--8~--8-9-11---9^8-------------------------------
D --8-9-11------------------------------------11--11^9^7----7---------------
A -------------------------------------------------------11---9(b)11--9-9~--
E --------------------------------------------------------------------------

<I chickened out on the fast bit>

G#m G#m+5 G#m F#sus4
E --21(b)23----(b)23~---(b)24~~\------------19--21--21(b)23---(b)24---21~--
B ------------------------------------/21----------------------------------
G -------------------------------------------------------------------------
D -------------------------------------------------------------------------
A -------------------------------------------------------------------------
E -------------------------------------------------------------------------

E B
E --19--18---19-21--19--16--------------------------------------------------
B -------------------------19-16-----19--16---------------------------------
G -------------------------------18---------18-16----18-16~~------16--------
D ------------------------------------------------18-----------16---16------
A --------------------------------------------------------------------18----
E ----------------------------------------------------------------------19--

A E
E ------------------16-19-17~~---21-----19-----16-----14----11---9-----------
B ---------------19------------19--19\17--17\14--14\12--12\9--9\7-7t9--------
G --16--18(b)20-------------------------------------------------------8t9--6~
D ---------------------------------------------------------------------------
A ---------------------------------------------------------------------------
E ---------------------------------------------------------------------------

(chorus)
Sax outro solo not included

The mechanism of the earthquake in Yogyakarta Indonesia in 2006 using GPS



YOGYAKARTA EARTHQUAKE May 27, 2006

On May 27, 2006, an earthquake in the vicinity of Yogyakarta. The quake occurred in the morning precisely at 5:53:58 pm. The epicenter is located at 7.962 ° S and 110.458 ° east, about 20 miles southwest of Jogjakarta or 455 km southeast of Jakarta with a fairly shallow depth of 10 kilometers. An earthquake measuring 6.3 Mw. Strength of an earthquake that was quite this strong, then the occurrence of the land (inland) result in damage to buildings, buildings and other infrastructure are quite severe in Yogyakarta, Bantul, and surrounding areas, as well as quite a lot of casualties.



According to the survey notes, more than 6000 people died, and about 50,000 thousand people were injured. Meanwhile, 86,000 homes were destroyed and approximately as many as 283,000 homes were damaged with each level of heavy damage, moderate, and mild. The most severe damage to buildings there are around Bantul, Imogiri, Piyungan, and Klaten. Earthquake occurrence is classified as a national disaster, and provide a series of disasters in the country notes dark Indonesia, after the disaster of earthquake and tsunami in Aceh Darussalam Nangro earth, Nias, and elsewhere.

Sufficient number of casualties and material loss showed weak earthquake monitoring system in our country. And since the occurrence of the earthquake that accompanied the tsunami in Aceh Nangro 2004, the government has launched efforts to natural disaster early warning systems earthquake and tsunami. Maybe we still need time to continue to assess, prepare, and begin actively monitoring program and mitigation of natural disasters, especially earthquakes and tsunamis.



Annals of seismicity in Jogjakarta and surrounding area

Actually if we look at historical records, it has happened several times the earthquake in Yogyakarta and surrounding areas with considerable destructive power. In 1867 an earthquake that gives the record fatalities and injuries are quite a lot, and leaving damage to buildings and infrastructure in areas which are quite extensive. In 1943 another earthquake occurred causing loss of life as much as 213 people (31 deaths in Jogjakarta), 2800 houses were destroyed, and the area experiencing the most severe damage is Kebumen and Purworejo. In 1981 an earthquake occurred back in Yogyakarta and the surrounding area, although not to cause casualties and severe damage to buildings.

If we look closely the historical record, then if we look at the mechanisms that are repeated earthquakes (earthquake cycle), then it is not possible we can work with a good mitigation, trying to minimize the impact of the loss can be caused by the earthquake. Activities "willing umbrella before it rains" may be realized with support of the research, application of technology, community empowerment, and others.



Research and application of technology in the face of catastrophic earthquakes

Earthquakes can not be prevented his arrival. What we can do is find ways to reduce losses or disasters that can be caused by earthquakes. The trick is how to implement monitoring and mitigation of potential earthquake as good as possible.

One effort that can be done in the framework of monitoring and mitigation of potential earthquake that is through research and analysis of the mechanisms and stages of the earthquake cycle. Cycle earthquake (earthquake cycle) is defined as the repetition of the earthquake. One cycle of earthquakes is usually held within a period of tens to hundreds of years. In a single cycle of earthquakes, there are several stages of earthquake mechanisms, among which interseismic stage, pre-seismic, co-seismic and post-seismic [Mori (2004), Vigny (2004), Ando (2005), Natawidjaja (2004) ]

Form of an earthquake cycle analysis done by examining historical documents earthquake occurrence, and studies of geology, geophysics such as stratigraphy of rocks, coral reefs (coral microattols) and paleo-tsunami to earthquakes that occurred at sea, paleo-likuifaksi, and so on another. Meanwhile, an earthquake of the stages of analysis done by looking at and researching the phenomena that accompany the stages of earthquakes such as deformation, seismisitas, information geophysical measurements (reseistivitas eclectic, observation of the face and ground water temperature), and others. [Mori (2004), Vigny (2004; 2005), Ando (2005), Natawidjaja (2004)].



Research Activities Yogyakarta earthquake mechanism by KK Geodesy and Counterpart

In an effort to move the learning and materials handling in the future earthquake potential, especially in Yogyakarta and surrounding areas, it is necessary to do research mechanism Yogyakarta earthquake that occurred on 27 May 2006. To see the mechanism of the Yogyakarta earthquake in 2006 can be done by finding evidence of faults (surface rupture) in the field, see the deformation coseismik poseismik by leveraging technology and Global Positioning System (GPS), monitoring with microseismometer Aftershock, and others.

In early June (about a week after the earthquake in Yogyakarta), ITB (including KK Geodesy) in collaboration with Nagoya University, Gadjah Mada University (UGM) and BPPT conduct research cooperation mechanisms earthquake in Jogjakarta. The field work carried out for approximately 10 days with other activities such as monitoring points are used to benchmark built by the BPN with a GPS to see coseismik deformation, then install the tool to see the distribution microseismik Aftershock, and others. Research activities are also accompanied by a humanitarian aid for disaster victims.

In the form of points in greater details the research activities carried out are as follows:

1) Survey damage to buildings (damage assessment) and casualties
2) Search for evidence of fracture on the surface (surface rupture)
3) Observations of GPS points BPN and other points to see the effect coseismik
4) Installation of microseismic to see the distribution of Aftershock
5) Assist disaster relief funds

Below is a picture documentation of the installation of GPS equipment at points of BPN to see coseismik see the effect of deformation resulting from the earthquake that occurred in Yogyakarta


The figure below shows the documentation of other activities in addition to research activities, namely aid for disaster victims. A grant obtained from the academic civitas ITB, then the people who provide post disaster assistance through the ITB.




Data processing and analysis of research results

From the results of field surveys of damage (damage assestment) seen considerable damage around the opaque fault corridor (from Bantul to Klaten). Mw 6.3 magnitude quake just really is not too large for the size of the quake, but it gives a fairly severe impact damage. From here arises the question of whether the condition of sedimentation layer plays an important role? Is the condition of the building plays an important role? Is the effect of the Killer Waves? Is there more than one earthquake? These things are very interesting to study further, by integrating various existing data.

From the results of field surveys to find the fault surface (surface rupture) was not obtained evidence of surface fault rupture around Opak. This gives the question of whether the earthquake did not cause surface rupture? or location of the earthquake was not occurred in the fault Opak? maybe in another fault? The answer can be obtained among others by looking at the pattern and distribution of deformation coseismik Aftershock.

From the results of GPS data processing using the Bernese software 4.2 and the documentation obtained coordinates BPN coseismic deformation with varying magnitude, but not more than 15 centimeters. Deformation pattern of systematic enough to show the mechanism of Yogyakarta earthquake in 2006 are left lateral. Furthermore, modeling results show a dip coseismic slip angle of the left lateral fault system at 50 degrees. Coseismic deformation of the results also showed that the fault rupture occurred on the east fault Opak.

Aftershock distribution of the results processed by the Nagoya University (Irwan et. Al, 2006), from 6 seismometers installed, shows the distribution of which is concentrated around the mountain ridge south fault, not disesar Opak. Fault geometry does not exceed 20 kilometers, this is in accordance with the calculation power of earthquakes, ground deformation and value. Aftershock distribution of these results reinforce the results of the analysis of GPS that shows the pattern of earthquake mechanisms Jogja 2006 is left lateral and the fault rupture occurred on the east fault Opak.

Although it looks useless to do research when disasters have occurred, but if we look at that we can still take a lesson from the disaster, for we are better in dealing with disasters in the future. One example of the results showed the actual strength of the quake was not so strong for the size of the earthquake theory, but probably because existing buildings are not designed to withstand earthquakes, and soil type so that the added effect of the damage, so for the foreseeable future we should think about how make the building completely, and others. From modeling coseismic we can know which areas are the source of the earthquake, so that we can recognize the level of seismic hazard areas, how the pattern of energy accumulation, and others.

Guitar Tabs "Overture 1982" by Dream Theater

Tabelature By:
adimusictrick(I'm Indonesian)
please e-mail me (mitrabaycool@gmail.com)

I've try the best as I could to finish this tab.
My friend said probably some parts use seven-strings,
but I made it with six-strings.
And I think it's almost the same as John Petrucci's play.
Follow the tab by hearing the recording to make sure the tempo and to play it correctly.
If there's any mistake please e-mail me for that to discuss..
Hope you enjoy myTAB.

EXPLANATION:

^ = hammer on/pull off
~ = vibrato
~~ = hard vibrato
tr~ ~ = trill
b = bend/pre bend
r = release
PM = palm mute
x = mute
/ = slide up
\ = slide down


E=|-------------------------------------------------------------|-----------------------------|
B=|-------------------------------------------------------------|-----------------------------|
G=|-------------------------------------------------------7-7-7|-7-7-7-7-7---7-7-7--7-7-7|
D=|-------------------------------------------------------7-7-7|-7-7-7-7-7---7-7-7--7-7-7|
A=|-5-5-5-5-5---5-5-5--5-5-5----5-5-5-5-5----5-5-5--5-5-5|-5-5-5-5-5---5-5-5--5-5-5|
E=|-------------------------------------------------------------|-----------------------------|
PM - - - - - - - - - - - - - - - - - - - - - /





Riff 1 section
|------------------------|--------------------------|-------------------------|------------|
|-7---7---7-7---7---10-|-9---9---9-9---9-----10-|-7---7---7-7---7---10-|-9---9---9-|
|-7---7---7-7---7---7--|-7---7---7-7---7-----7--|-7---7---7-7---7----7--|-7---7---7-|
|-7---7---7-7---7---7--|-7---7---7-7---7-----7--|-7---7---7-7---7----7--|-7---7---7-|
|------------------------|--------------------------|-------------------------|------------|
|------------------------|--------------------------|-------------------------|------------|


then play fast at this section

|-------------------------------------------------------|
|-9-10-9-7--------------------------------------------|
|----------9-7-6-9-7-6--------------------------------|
|----------------------9-7-6-9-7-6--------------------|
|----------------------------------9-7-5-9-7-5--------|
|----------------------------------------------9-7-5---|
PM - - - - - - - - - - - /
First, play this section slowly, then try to play faster and faster as John Petrucci's
I know you can do it... :-)



Riff 2 section
|----------------------------------|---------------------------------|----
|-------------0---------------0---|-------------0---------------0---|----
|---------2-----------2-----------|---------4-----------4-----------|----
|-----2-------------------2-------|-----4-------------------4-------|----
|----------------------------------|-2-------------------------------|----
|----------------------------------|---------------------------------|----



|----------------------------------|---------------------------------|----
|-------------0-------------------|-------------0-------------------|----
|---------2-----------------------|---------------------3-----------|----
|-----2---------------------------|---------4---------------4-------|----
|-0-------------------------------|-----4-----------------------4---|----
|---------------------0-------0---|-2-------------------------------|----


|---------------------------------|----------------------------------|----
|-------------0---------------0---|-------------0---------------0---|----
|---------2-----------2-----------|---------4-----------4-----------|----
|-----2-------------------2-------|-----4-------------------4-------|----
|-0-------------------------------|-2-------------------------------|----
|---------------------------------|----------------------------------|----

|-------------3-------------------|----------------------------------|----
|---------------------3-----------|-------------8-----------7-------|----
|---------5-------------------5---|---------7-----------------------|----
|-----5---------------------------|-----7---------------------------|----
|-3-------------------------------|-5-------------------------------|----
|---------------------------------|----------------------------------|----



Next Section is on 01:02

|-------------------------|---------------------------|----------------------------|
|-------------------------|---------------------------|----------------------------|
|-------------------------|---------------------------|----------------------------|
|-------------------------|---------------------------|----------------------------|
|-------------------------|-5-4----------------------|----------------------------|
|-0-2-4-6----0--0-0-0--|-----2^4-4---0--0--0-0-0|-0-2-4-6----0---0tr~~~---|
PM - - / PM - - - -/ PM

|-----------------------|-----------------------------|------------
|-----------------------|-----------------------------|------------
|-----------------------|-----------------------------|------------
|-----4^6-6----2tr~~~|-----------------------------|------------
|-5-7------------------|-----------------------------|------------
|----------------------|-0-2-4-6-------0---0-0-0-0-|------------
PM PM - - - -/


|------------------------------|------------------------------|--------------
|------------------------------|------------------------------|--------------
|------------------------------|------------------------------|--------------
|------------------------------|------------------------------|--------------
|-5-4-------------------------|------------------------------|--------------
|-----2^4-4----0---0---0-0--|-0-2-4-6-------0---0tr~~~--|--------------
PM - - - -/ PM


|-----------------------------------------|--------------------------------------|
|-----------------------------------------|--------------------------------------|
|-----------------------------------------|--------------------------------------|
|-----4-6--------------------------------|-2-2-2-2--2-2-2-2-2-2-2--2-2-2-2-|
|-5-7-----7-5-----7-----5-----3-1------|-2-2-2-2--2-2-2-2-2-2-2--2-2-2-2-|
|-------------6-4---6-----4-------2-1 --|-0-0-0-0--0-0-0-0-0-0-0--0-0-0-0-|
PM - - - - - - - - - - - - - /


The keyboard solo. The guitar plays riff 1 with little modification

Riff 1
|--------------------------------------------------------------------------
|--------------------------------------------------------------------------
|--------------------------------------------------------------------------
|--------------------------------------------------------------------------
|--------------------------------------------------------------------------
|--------------------------------------------------------------------------

At this point we will play a nice melody...(I like it)

|----------------|----------------------------------|-----------------|-
|----------------|----------------------------------|---7-8--10--8--|-
|--------4~-----|-11-11-11b----r--7--9-/11---9~|-9---------------|-
|----------------|----------------------------------|-----------------|-
|----------------|----------------------------------|-----------------|-
|-0-2-3---------|----------------------------------|-----------------|-




|---------------------|------------------|------------------------------|
|-7---8---7-^8^7----|------------------|------------------------------|
|----------------9~--|---6-9-7--9/11---|-11b-r--9--7----9--11^12--|
|---------------------|-7----------------|------------------------------|
|---------------------|------------------|------------------------------|
|---------------------|------------------|------------------------------|

|------------------------------------------|------------------------------------|
|------------------------------------------|-----14-17b-r--------------16/17-|
|---------9-11-12-14-----12-11--14--14|---15-------------15b-r-----------|
|---------9--------------------------------|-16------------16-------16-------|
|--------------------------------------==-|------------------------------------|
|------------------------------------------|------------------------------------|



|-------14-17^14--------------------|------------------------------|
|-14^17----------17-14-------------|17b-r-------------------------|
|----------------------16-15---------|---------15b-r---------------|
|----------------------------16-14---|------16-------16------------|
|-------------------------------------|-------------------13^14-14-|
|-------------------------------------|-------------------------------|


|--------------------|------------------------------------|-------18-21^18------------
|--------------------|-----14-17b-r--------------16/17-|-17-19---------19-17-------
|-15/13/11--13/11/9|---15-------------15b-r-----------|---------------------16-14-
|--x--x-x----x--x-x-|-16------------16-------16--------|---------------------------
|-13/11/9---11/9/7-|------------------------------------|---------------------------
|--------------------|------------------------------------|---------------------------


|----------------------------------14--------------------------
|-17-16-17-16-----------------------------------------------14-
|-------------17-16-15-14-15-16-17----16-15-14-----------------
|-----------------------------------------------16-14-15-16----
|--------------------------------------------------------------
|--------------------------------------------------------------

--------------------------------14-16-17--19b~-|
------------------------14-16-17----------------|
---------------14-16-17-------------------------|
16-15-14-16-17---------------------------------|
--------------------------------------------------|
--------------------------------------------------|


Guitar plays riff 2 section
Riff 2
|-------------------|------
|-------------------|------
|-------------------|------
|-------------------|------
|-------------------|------
|-------------------|------


Then another familiar melody...
|------------------|-----------------|--------------------|-----------------|-
|------------------|-----------------|--------------------|-----------------|-
|/8-----9-----10--|-8-----4---------|-4~-^6-----6b-r--|----6-8-9--------|-
|------------------|---------------6-|--------------------|-/6--------------|-
|------------------|-----------------|--------------------|-----------------|-
|------------------|-----------------|--------------------|-----------------|-



|-------------------|-9^11-11b~-----|-b11-----r-9---|-----------------11|
|----9^12-12------|------------------|-------------9-|-12b-----------12--|
|-11---------------|------------------|----------------|-------------11----|
|-------------------|------------------|----------------|--------------------|
|-------------------|------------------|----------------|--------------------|
|-------------------|------------------|----------------|--------------------|



|-14b-r-11---------------------------------------------|-------------------
|----------12----12-------12--------12----------------|-------------------
|-------------11----11\9------9--8---------11--9--8--|-------------------
|---------------------------------------9---------------|-------------------
|-------------------------------------------------------|-------------------
|-------------------------------------------------------|-------------------


The Guitar and keyboard play together
|--------------------------------|----------------------------------------|---
|-------------------12-10-------|----------------------------------------|---
|-9------------9-12-------12-11|-9~-------------------------11-9~----|---
|---12-10-9-10-----------------|---12-10-9~-------------9-12---------|---
|--------------------------------|-------------12-10-9-10---------------|---
|--------------------------------|----------------------------------------|---



---------------------------------|------------------------------------|
-------------------12-10--------|------------------------------------|
-9------------9-12-------12-11|-9~--------------------------11-9--|
---12-10-9-10------------------|---12-10-9~-------------9-12-----|
---------------------------------|-------------12-10-9-10-----------|
---------------------------------|------------------------------------|
---------------------------------|
----------------------|
----------------------|
12-10-9-------------|
--------12-10-9^10-|
----------------------|


|---------------------------------|------------------------------------|
|-------------------12-10--------|------------------------------------|
|-9------------9-12-------12-11|-9~--------------------------11-9--|
|---12-10-9-10------------------|---12-10-9~-------------9-12-----|
|---------------------------------|-------------12-10-9-10-----------|
|---------------------------------|------------------------------------|


|------------------------|
|------------------------|
|------------------------|
|-12-10-9--------------|
|---------12-10-9------|
|------------------12---|


|-----------------------------------------|-------------------------------|
|-----------------------------------------|-------------------------------|
|-----------------------------------------|-------------------------------|
|-----------------------------------------|-------------------------------|
|-7-6---6-5---5-4---4-3--3-2-1-0- ----|-------------3-3-2-2-1-0---0-|
|-----0-----------0----------------------|-3-3-2-2-1-1-----------------|
PM- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -/


|-------------------------------------------------|--------------------------------|
|-------------------------------------------------|--------------------------------|
|-------------------------------------------------|--------------------------------|
|-------------------------------------------------|--------------------------------|
|-7-6---6-5---5---5-4---4-3---3--3-2-1-0- ----|-------------3-3-2-2-1-0---0-|
|-----0-----0---------0-----0--------------------|-3-3-2-2-1-1------------------|
PM- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -/


|-------------------------------|------------|--------------|
|-------------------------------|------------|--------------|
|-------------------------------|-8-------8-|-7------5-----|
|-------------------------------|-6-------6-|-6------6-----|
|-------------3-3-2-2-1-0-----|------------|--------------|
|-3-3-2-2-1-1-----------------|------------|------------- |
PM- - - - - - - - - - -/


|--------------|------------|-----------|------------|-------------|------------|
|--------------|------------|-----------|------------|-------------|------------|
|-5^7^8--10-|-7-----8----|-5------5-|-4-------2-|-2^5^6----8-|-4----5----|
|-6--------6--|-6-----6----|-3------3-|-3-------3-|-3--------3-|-3----3----|
|--------------|------------|-----------|------------|-------------|------------|
|--------------|------------|-----------|------------|-------------|------------|


|-------------------------|------------------------|
|-------------------------|------------------------|
|-11---11-10-8----------|-13--13-11-10--------|
|-9----9--9--9-----------|-11--11-11-11--------|
|-------------------------|------------------------|
|-------------------------|------------------------|


|-------------------------------------|------------------------------------|
|-------------------------------------|------------------------------------|
|-8-8-8-8-----8-8-8-8-----7-7-7---|---7-7-7-7-------------------------|
|-6-6-6-6-----6-6-6-6-----6-6-6---|---6-6-6-6-------------------------|
|-6-6-6-6-----6-6-6-6-----6-6-6---|---6-6-6-6-------------------------|
|-4-4-4-4-----4-4-4-4-----4-4-4---|---4-4-4-4-------------------------|

Go to Strange Deja Vu...

Lembang Fault activity studies using GPS technology


Fault system (FAULT SYSTEM)

Plate boundaries in a smaller scale is known as a fault which is a boundary that connects two adjacent tectonic blocks [Puspito, 2000]. Field fault (fault plane) is a field which is the area of ​​contact between two tectonic blocks. Shifting the field of fault can range from between a few meters to reach hundreds of kilometers. Fault is a weak line, and occurs more frequently in layers of hard and brittle. The material was destroyed at the fault lines caused by the shift, can range from the gouge (a substance that is fine / fine due to friction) until the fault breccia, which has a thickness between a few centimeters to hundreds of meters (crushed fault zone width).



There are two elements to the fault of Wall hanging (the roof section) and Foot Wall (base section). Wall Hanging (roof fault) is that there is a fault blocks at the top of the field of fault, while the foot Wall (base section) is the fault blocks located at the bottom of the field of fault. Field faults formed as a result of cracks that shift.
  
 Judging from the position of fault against the surrounding rock structure (usually applied to a fault in the sedimentary rocks) (Asikin, 1978 in Puspito 2000), faults can be classified as follows:
  
 1) Strike Fault, which is the fault jurusnya direction parallel to the surrounding rock stance.
 2) Fault Dip, is the stance of the fault direction of the slope of the surrounding rock layers
 3) Diagonal or Faulting Oblique, is a fault that cuts the surrounding rock structure.
 4) Longitudinal Fault, the fault direction parallel to the main direction of the regional structure.
 5) Fault Traverse, is a section cut perpendicular / oblique to the regional structure
     (Usually found in the area folded, cut the axis of the anticline)
  
 Meanwhile, when viewed from genesanya, faults can be classified into several types as follows:
  
 1) Normal when the Hanging Wall Fault (fault roof) moves down relative to foot wall
 2) Fault Rise / lid when the Hanging Wall Fault (fault roof) move relative rise
     against Foot Wall (base section).
 3) Horizontal Fault / shear fault (Strike Slip Faulting), a separate move relative
     horizontally on the field of fault generally upright (90o).



Faulting RELATIONSHIP WITH EARTHQUAKES

Where is the usual occurrence of a natural earthquake is large enough, according to research results, the researchers concluded that the earth nearly 95 percent more earthquakes occurred in the boundary regions between Earth's crustal plates and faults in the region [Mori, 2004]. The earthquake that occurred in the fault area can bear a number of disasters, such as casualties, damage to various structures, avalanche, and others. The death toll could reach tens or even hundreds of thousands of lives and material losses could reach hundreds of millions of U.S. dollars.

Examples of the earthquake that occurred in areas such as earthquake fault that occurred in Thangsan China on July 28, 1976 claimed 240 000 lives, the earthquake happened in Iran in 1990 claimed 40,000 lives, and earthquakes occur Armenia in 1998 killed 25,000 people .



Faulting STUDY FOR MONITORING THE POTENTIAL FOR EARTHQUAKE DISASTER MITIGATION

Given the facts that show an earthquake fault may occur in the area and can provide large losses of both life and matter, then the step of monitoring potential earthquake as one form of mitigation efforts obviously important to be done to reduce the negative effects that can be left by disaster.

Geologically the area of ​​Indonesia will be found many faults (fault) which is an area that is prone to earthquakes. Examples of common faults for the research field of Earth is the fault of Sumatra (the Great Sumatran Fault), Palu Koro Fault in Central Sulawesi, Faulting and Fault Cimandiri Lembang West Java. Facts show has many records of natural disasters in the vicinity of earthquake faults like the Sumatra quake Liwa year 1932.1994, Kerinci earthquake 1909, 1995, which left the mental and material losses are quite large. Given this reality, the study of the potential for earthquakes in order to mitigate the obvious imperative to do in Indonesia.

Then exactly how the form of study can be done to see the huge potential of earthquakes following disasters? Here below is given an example of a model study of the earth's natural potential for earthquake disaster created by the U.S. National Government. To make this model combines components of their areas of study such as science and technology Seismicity, Paleoseismology, Local Site Effects, geologic Structure, Dynamic Rupture, Seismic Velocity Structure, Crustal deformation by InSAR, Crustal Motion by GPS, Stress Transfer, and Fault Information. By studying the fields of science and technology studies, and then integrate it, you will get how big the earthquake potential in the case study.



STUDY OF Lembang Fault

Lembang Fault is one of the most fascinating geological landmarks in the Highlands Bandung and a clear geomorphological expression of neotektonik activity in the Bandung Basin. Lembang Fault morphologically expressed in the form of escarpment fault (fault scrap) with the wall towards the north facing escarpment. Lembang Fault which parts can be seen, both from topographic maps or aerial photographs, especially from satellite imagery, has a length of 22 km. From east to west, the high escarpment that reflect the magnitude of the shift cesarean section (vertical jump / throw or dislocation) changed from about 450-meter at the eastern end (Maribaya, G. Pulusari) and 40-meter to the west (Cisarua) and then disappeared in the north west tip of Padalarang.

  

Geomorphic expression that distinguish the eastern section which is characterized by a steep escarpment to the west of the relatively less steep and disappeared in the West Cisarua, more detailed and easily identifiable geographically, divided right at the road-Lembang Bandung. In this area there is a flat area along the road to the city of Bandung, Lembang Lembang District. To the west of this narrow plain bounded by S. Cihideung wrenching spurs and deep, flowing north-south fault escarpment cut. To the east, fault escarpment is characterized by very steep cliffs with a relative height difference of 75 m in Lembang (West) to more than 450 m in G. Pulusari (east end) is the higher altitude due to vertical penyayatan (incise) volcanic deposits on its feet. While in the western escarpment fault is not so high and only reaches a height of 40 m in area relative Cihideung, Cisarua. In this section, fault escarpment covered with volcanic deposits younger.

Stone Mountain is one of the best location for observation of the Lembang Fault. Rock made up of igneous andestik. Lava flow is estimated as compassionate column shows the burly-burly that can be observed on the northern slopes. However, many geologists and geophysicists who have other opinions about the rock andestik in the Rock. Some expect it as an intrusion or volcanic neck, a few more suspect as the product of the eruption crack (fissure Eruption). The results of age dating by K-Ar method show that the rocks formed at Stone Mountain andestik 0.51 Ma (Sunardi and Koesoemadinata, 1997), or 510,000 years ago.

A relatively new research results from Nossin et al. (1996) suggests that the possibility of the first shift in Lembang Fault (in particular the formation of the eastern Lembang Fault) which coincides with the formation of the caldera in the cataclysmic eruption occurred 100,000 years ago. While the western part of the Lembang Fault diperkiakan younger than 27,000 years ago. This is caused by the presence of pyroclastic deposits which was unbroken by the fault.

The flow of lava broke through the wall of the eastern section through Ci Kapundung in Maribaya, but this does not happen in the east. Thus, the western section allegedly younger than phase-B van Bemmelen, but broke deposits van Bemmelen-C phase. Nossin et al. (1996) analyzed the dating of peat samples from Kampung Penyairan located at Lembang Fault valley in the west. The results of the analysis of K-Ar dating by Sumardi and Koeseomadinaa (1997) showed in the basalt lava waterfall Dago was 48,000 years ago, and old lava flows in Maribaya 150,000 years ago. Black basaltic lava is constantly from the upstream river Cikapundung (Maribaya) until ending around Curug Dago, estimated to consist of several "layers". If the fault is active in the west end about 24,000 years ago, so if the eastern part active, lava-lava should come broken, too.

Mount Tangkubanparahu appear on fault lines trending west-east, where most of the intrusion of magma have been frozen to form a dike. Weak zone located on the south and west, allowing the ongoing activity of Mount Tangkubanparahu today. Switching points of activity (crater) Mount Tangkubanparahu have a trend toward the east-west fault. Very prominent fault structures displayed by the residual magnetic anomaly pattern (Example: Faulting Lembang). Hot springs in Ciater, made possible due to the heating subsurface water derived from G. Tangkubanparahu flowing through the field of fault.



Study In Movement Geodetic Lembang Fault
 
 In early 2006, KK Geodesy in collaboration with the resource geologists began to re-examine the status of Lembang Fault characteristics by utilizing GPS technology. Earlier in cooperation with the University of Japan, which had conducted research in 1994-1998 and 2003. As it is known that the Lembang Fault lies not far from the city of Bandung is loaded resident. Therefore, research on this fault clearly necessary, because the region can have a potential earthquake fault. GPS technology can see the geometric characteristics of the dynamics around the fault, then can then be used as a parameter in the determination of fault activity model.

  
  
 The principle of fault activity determination using GPS survey method is by putting some points in some selected locations, periodically coordinates accurately determined using GPS survey methods. By studying the pattern and pace of change the coordinates of the points from the survey that one to the next survey, then along with other supporting data in mathematically modeling the characteristics of fault activity will be seen and studied further in order to manufacture models of potential earthquake . Models that can be made such as: elastic deformation model, which then shows the fault parameters such as fault location, fault geometry and the rate of accumulation of deformation on the fault. Then from this model we can determine the accumulated strain, locking depth, energy prediction earthquake that may occur in the fault area. In other words, through GPS data input and output models of fault activity, then we can determine the model of potential natural disasters in the earthquake fault that we examine.

  
 As mentioned above, previous GPS survey was conducted in the area surrounding Lembang Fault in the period 1994 to 2003. The data obtained can be combined with data to be taken in this research program to use as the main parameter in determining the pattern shift Lembang Fault.

The location and distribution of GPS points to study the activity of Lembang Fault by GPS deployed close to the fault and in some places far from the fault to see its far-field velocity. Monitoring net is later processed by including IGS data are scattered around Asia and Australia as a global binding points.

Characteristics of fault shifts obtained from GPS surveys in Lembang Fault This information will then be integrated with fault activity history, tectonic setting information to create models of potential earthquakes around the Lembang fault, and then the model is expected to assist mitigation efforts.

Jumat, 26 Agustus 2011

Nasa Earth like planet found

Hundreds of new planets have been discovered by NASA's new space probe, this has sparked new hope of life beyond our solar system.Up to 140 newly-discovered planets with a variety of rocky and Earth-like planets that contain both land and water, conditions that can allow a simple lifeforms to develop.Kepler's investigation - which constantly monitors more than 150,000 stars for the tell-tale planets orbiting around them - may also find five new solar system, NASA said.
 




Discovery: An artist's impression of the Kepler spacecraft, which uses 95 megapixel digital camera which is amazing to see far into space"Meanwhile, a complete study remains to be done, the implication is that a lot of double planet planetary systems," said William Borucki, the principle investigator.This data relates to the first six weeks after the probe mission was launched four years ago.Scientists hope the discovery will lead to the beginning of many more, including a multi-planet systems that provide better life chances to flourish.Kepler space investigations studying distant stars by monitoring the light of their issue.
 
Field of view: The Kepler space examined three constellations that contain 156 000The new planets orbiting such stars would block the light radiation, and this reduction was small measured and interpreted to indicate the size and nature of the object.The probe monitors the three constellation - Cygnus, Lyra and Draco uses a special telescope is equipped with 95 megapixel camera.To qualify as a candidate for the planet ', the telescope should be noted that stray light three times to ensure results that are not just anomalies.Initial findings mean the number of habitable planets in space could run into millions.

guitar chord picture

Below is a picture of a guitar chord that you can match with chord contained in the song. Click image to enlarge picture.

Avenged Sevenfold: Since The Rev's Passing, We've Had To Grow Up


Avenged Sevenfold most recent studio album, Nightmare – the group’s fifth to date - is the first from the band without drummer James “The Rev” Sullivan, who sadly passed away in December of 2009. The album features former Dream Theater drummer Mike Portnoy on the drum stool. The group has been busily touring the album with Arin Ilejay playing drums on all the group’s live dates. During a stopover in Australia, Joe Matera spoke to Synyster Gates about the new drummer, touring and Avenged Sevenfold’s influence on the next generation of up and coming metal bands.
UG plus: remove banner


UG: I want to start the interview by asking you how has the dynamic changed within Avenged Sevenfold having added new recruit Arin Ilejay on drums?

Synyster Gates: Well it is hard to say. I mean there are a few different things definitely, compared to the dynamic we had with Jimmy and the dynamic we had with Mike Portnoy, so it is different. Also Arin is very young and it is more about us taking him under our wings at this point where as with Jimmy, things were absolute insane and the guy was mad man, very funny and we were all friends, so it was a much crazier time for Avenged Sevenfold.

I also think since The Rev’s passing, we’ve had to grow up quite a bit and I think Mike helped us to get through our period of grieving. I mean playing with Arin now is definitely a lot lighter kind of atmosphere than the moments we had with Mike Portnoy at that time. And not because of Mike, but because it was a lot closer towards the passing of the Rev. But now, I think we’re into the healing process and it is a breathe of fresh air to have this really young talented kid out with us, that is so humbled by this experience and very deserving of all the things that are going to come to him.

So have you begun the writing process for next album yet?

We don’t have any plans right now, as we are just really focused on touring. A lot of new cool places have opened up and we are really excited to come and see all our fans, both old fans and new fans, and go out and just play for all these kids, that haven’t seen us or have seen us in awhile. And that is what is exciting to us right now. When we try and blend the two together, the songwriting and the touring like we did before, it doesn’t really work. We tend to become very focused on what we are doing. And we tend to be a little bit one track minded. We’re very much perfectionists so when we’re putting on a huge show and want to play to the best of ability, we rehearse intensely. And I have a guitar pretty much in my hand for at least five hours before doing a show. I’m just noodling and mucking around and working on some of the songs here and there.


Avenged Sevenfold are still touring behind the group’s most recent studio album Nightmare?


Yeah and we definitely still have tons of touring coming up for the rest of the year. We are very fortunate to still have a lot of the world opened up to us and that we are further developing. We are continuing to develop a broader fan base across the globe. And it is just cool to be able to come to places like Australia for example, and draw a few thousand kids, it is definitely a dream come true for us.

Do you enjoy all the touring involved?

Touring is my favorite part of doing all this music stuff. Especially being able to go over to different countries and experiencing different cultures and playing for kids. It is a lot more gratifying being onstage and seeing the kids and all the shit that you worked hard for, right there in the moment. Than as opposed to being in a fuckin’ studio, thinking about how it will affect kids when it is done. It is much cooler experiencing the effect first hand.

For the current tour, what are you using guitar wise?

It is pretty much my Schecter Synyster Gates Signature model for the entire show. It is the custom thing that Schecter did for me. It has got these hot pickups by Seymour Duncan, and it is very conducive to a broader approach to metal and rock. It is a very versatile guitar. We’ve been playing Schecter pretty much ever since we started working with Mudrock [producer] on Waking The Fallen. I just really like those guitars and I have played them way before we were even endorsed by them. They are a really great company too and when we started doing the endorsement deal with them, they were really quick to make signature guitars as I was really into that at, as I always loved that Dimebag had his own brand of guitar that looked pretty much like no other guitar. And so I wanted my own thing too. But though certain companies are down to making you something, they’re not necessarily going to make you a really good quality instrument. Yet these guys definitely spared no expense on what I wanted. On top of that they make other great guitars which make for a great company all round. And they really support you during the album making process.

And what about, when it comes to amps?

Amp wise it is pretty much Marshall at this point.

Is it a specific model in particular?

I don’t know man. All I know is that it is a multi-channel thing…I think it is the only one that has all the Midi stuff, and comes with a couple of different cleans, and a couple of different dirtys. It is a very multi-purpose wide range amp.

Would it be the JVM model?

Yep, that’s it, you’ve got it.


How do the guitar parts break down between you and Zacky?


I guess it depends on who wrote it. If I wrote something, then I will probably be the one playing it. But usually Zacky plays the lead lines, all the melodies regardless, be it my idea or his idea. I usually kind of orchestrate the harmonies and stuff like that. But I am usually playing the harmony parts most times. So that’s how that works with the band frame work. So whoever comes up with something, we will always work around that and that it from there.

Do you think your guitar technique and approach has remained consistent over the course of your career with Avenged Sevenfold?

I don’t know, I just try and always approach my solos and guitar playing from a harmony songwriters’ standpoint, where I will always try and make it melodic number one and fun, number two. It has to always be fun and never too fuckin’ serious. I never do technique for the sake of technique. I much prefer a kid to laugh at my solo than to fuckin’ have his jaw drop. I much prefer to inspire different emotions than just, ‘oh shit that guy shreds’ I definitely always try and keep up with the times too and what the kids are doing, the little whippersnappers. I like to see what shit they know that I don’t know. It is cool because you can go onto the internet now and pretty much all the mystery is revealed to you which is a cool thing. It is definitely going to be inspirational for kids to take it to the next level.

Your father Brian Haner Sr, who is also a well known guitarist in his right, contributed guitar on a couple tracks on Nightmare. How much of an influence was your father on your own playing growing up?

He influenced me a lot. I grew up in a household that had a lot of classic rock and jazz and fusion around. But I always had an insatiable itch for metal techniques and stuff like that, so I later went off in a heavy music kind of direction and got into bands such as Pantera, Dream Theatrer and Guns & Roses. My influences go from The Beatles and Led Zeppelin for the rock stuff to The Yellowjackets as far as the fusion influences go.


Any plans for a solo album or maybe being a guest soloist on some other person’s album, along the lines that M Shadows did with Slash for his solo record?


I don’t have any plans right now, like I sad, we kind of get pretty busy and self absorbed when it comes to the task at hand. I wish I was like… where I could just go out and fuckin’ do a million different things all at once. But if I am not doing Avenged stuff, I tend to be a fuckin’ couch potato and drink too much beer at multiple times during the day. But who knows? Maybe I will grow out of that stage and start drinking a lot of fuckin’ coffee instead and go and fuckin’ do a collaboration and write some awesome stuff.

A lot of new bands are taking a leaf out of Avenged Sevenfold’s book and copying some of the elements, how do you feel about that?

Well we certainly weren’t the first band to do it. There have been many before us and there will be many after us, so I certainly don’t think we pioneered anything. If anything I give ourselves credit for maybe bringing some of those elements back and kind of doing our own thing with it. But it is definitely cool to hear bands focusing on songwriting and musicianship these days, those are my two favorite things and in that order. We are a band that focuses on writing good music, melodies, dynamics and songs that go places. Songs that don’t fuckin’ just throw in something when it comes time to write the bridge. Musicians are becoming more focused on all aspects of the music now, and then they go out and play their asses off. It is really cool shit to listen to.

What do you think of bands such as Black Veil Brides who are taking the whole ‘80s glam thing and putting a modern twist to it all?

It is definitely a cool thing. The first time I saw those guys, I hadn’t heard anything about them previously, and we were just doing festivals, and I was like, ‘oh wow this is pretty crazy, I have got to definitely check them out’ purely based on their look. I was pretty much expecting it to be a scream-y hardcore or a popp-ier sounding band trying to be like Motley Crue. But they’re extremely talented dudes and I love the image and I think they are really a great band.

Last question, the turning point both musically and commercially for Avenged Sevenfold came with 2005’s City Of Evil. How do you look back on that album today?

We pretty much had decided on that record that we were going to pretty forget about any guidelines or rules or regulations, and that we would create any form or type of music that we wanted, and so pretty much we threw out the rule book and went in and wrote an album that we were and are very, very proud of. It is a very musically adventurous album and it saw us delving into different types of music, music that we hadn’t previously done. And it was a cool time to explore all this type of music.

Selasa, 23 Agustus 2011

Historia Calamitatum

of the persecution he had from his master William of Champeaux--of his adventures at Melun, at Corbeil and at Paris--of his withdrawal from the city of the Parisians to Melun, and his return to Mont Ste. Geneviève--of his journey to his old home
I came at length to Paris, where above all in those days the art of dialectics was most flourishing, and there did I meet William of Champeaux, my teacher, a man most distinguished in his science both by his renown and by his true merit. With him I remained for some time, at first indeed well liked of him; but later I brought him great grief, because I undertook to refute certain of his opinions, not infrequently attacking him in disputation, and now and then in these debates I was adjudged victor. Now this, to those among my fellow students who were ranked foremost, seemed all the more insufferable because of my youth and the brief duration of my studies.
Out of this sprang the beginning of my misfortunes, which have followed me even to the present day; the more widely my fame was spread abroad, the more bitter was the envy that was kindled against me. It was given out that I, presuming on my gifts far beyond the warranty of my youth, was aspiring despite my tender, years to the leadership of a school; nay, more, that I was making read the very place in which I would undertake this task, the place being none other than the castle of Melun, at that time a royal seat. My teacher himself had some foreknowledge of this, and tried to remove my school as far as possible from his own. Working in secret, he sought in every way he could before I left his following to bring to nought the school I had planned and the place I had chosen for it. Since, however, in that very place he had many rivals, and some of them men of influence among the great ones of the land, relying on their aid I won to the fulfillment of my wish; the support of many was secured for me by reason of his own unconcealed envy. From this small inception of my school, my fame in the art of dialectics began to spread abroad, so that little by little the renown, not alone of those who had been my fellow students, but of our very teacher himself, grew dim and was like to die out altogether. Thus it came about that, still more confident in myself, I moved my school as soon as I well might to the castle of Corbeil, which is hard by the city of Paris, for there I knew there would be given more frequent chance for my assaults in our battle of disputation. No long time thereafter I was smitten with a grievous illness, brought upon me by my immoderate zeal for study. This illness forced me to turn homeward to my native province, and thus for some years I was as if cut off from France. And yet, for that very reason, I was sought out all the more eagerly by those whose hearts were troubled by the lore of dialectics. But after a few years had passed, and I was whole again from my sickness, I learned that my teacher, that same William Archdeacon of Paris, had changed his former garb and joined an order of the regular clergy. This he had done, or so men said, in order that he might be deemed more deeply religious, and so might be elevated to a loftier rank in the prelacy, a thing which, in truth, very soon came to pass, for he was made bishop of Châlons. Nevertheless, the garb he had donned by reason of his conversion did nought to keep him away either from the city of Paris or from his wonted study of philosophy; and in the very monastery wherein he had shut himself up for the sake of religion he straightway set to teaching again after the same fashion as before.

Profile of Olivier Messiaen

Born:

December 10, 1908

Birthplace:

Avignon, France; his father was an English literature scholar named Pierre Messiaen and his mother was Cécile Sauvage, a poet.

Died:

April 27, 1992 at Clichy, near Paris

Also Known As:

French composer, educator and organist of the 20th century. His full name was Olivier Eugène Prosper Charles Messiaen. He founded La Jeune France (Young France), a group which aspired to promote French music.

Type of Compositions:

Messiaen is known for his birdsongs and much of his music was also based on the Catholic faith. He also wrote organ pieces, chamber music, orchestral, piano and vocal works.

Influence:

Amazingly, Olivier Messiaen learned how to play the piano by himself and by seven years old was already composing music. He would later on study at the Paris Conservatoire with Paul Dukas and Marcel Dupré among his teachers. His early works were influenced by DeBussy. He became organist at La Trinite in Paris and taught at various music schools including the Paris Conservatoire with Pierre Boulez as one of his students.

Musical Work:

Among his known works are: "Offrandes oubliées,' "Nativité du Seigneur," "Quatuor pour la fin du temps," "Trois Petites Liturgies de la présence divine,' "Visions de l'amen," "La Transfiguration de Notre Seigneur Jésus-Christ," "Turangalîla-Symphonie,' "Chronochromie," "Le Réveil des oiseaux," "Oiseaux exotiques" "Harawi" "Saint Francois d' Assise," and "Catalogue d'oiseaux."

Interesting Facts:

During World War 2, he became a prisoner of war and it was during that time when he wrote "Quatuor pour la fin du temps" (Quartet for the End of Time). His first wife was a violinist named Claire Delbos; his second wife was Yvonne Loriod, a pianist

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