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C-DAC’s Common Admission Test (C-CAT) Admissions to all PG Diploma courses of C-DAC are done through C-DAC's computerised Common Admission Test (C-CAT). Candidates have to apply for C-CAT online at Centre for Development of Advanced Computing, India or acts.cdac.in. Every year, C-CAT is usually conducted in June (for August admissions) and December (for February admissions). Candidates who clear CCAT will only be considered for admission to C-DAC‟s PG Diploma courses of batch on the basis of their C-CAT ranks and centre/course preferences.THE TOPIC WISE WEIGHTAGE SYLLABUS OF CCAT :-—————————————————————————————————————————————————————————————————————-Section-AENGLISH- 20 quesAPTITUDE- 15 quesREASONING- 15 ques——————————————————————————————————————————————————————————————————————ENGLISHTopics: –Reading Comprehension(Passage)Prepositions (of,by,on,at,with etc)Articles (A,An,The)AnonymsSynonymsArrangement of Sentences(Given 4 Sentences in PQRS form and arranged them)———————————————————————————————————APTITUDETopics: –NumbersHCF & LCMAverageAgesPercentageProfit & LossPartnershipChain RuleTime & WorkPipes & CisternsTime & DistanceBoats & StreamsTrainsCalendarSimple InterestCompound InterestPermutation & CombinationProbability——————————————————————————————————REASONINGTopics: –Sitting Arrangement (Circular Table , Straight Line)Series (Number)AnalogyDirection Sense(North East West South)Coding Decoding (A-Z)Blood Relation (sentence form , A+B –>A is sister of B )Data SufficiencySyllogism (2 & 3 Statements & Conclusion)Ranks————————————————————————————————————————————————————————————Section-BC-Language – 15quesData Structure- 6-8quesOperating System- 6-8 quesOOPS- 8-10quesData Communication & Networking – 8-10quesC-Language – 15quesData Structure +Operating System+OOPS+Data Comm & N/Wing = 35ques—————————————————————————————————————————————————————————————————————-C-LanguageTopics: –Simple Operators Based(Learn Precedence table)if –else (focus on semi colon and paring of if else )loopsrecursionmacropointers(Variable,Array,String)storage classes (program as well as theoretical ques)static variable conceptstructure & union10-12 ques based on (Find out the Output of given ques)3-5 ques based on Theoretical Concept———————————————————————————————————Data StructureTopics: –Theoretical BasedStackQueueLinked ListSearchingSortingEvaluation of Infix Prefix PostfixAlgo Complexities (Mostly asked worst case )Binary Tree Based (Preorder postorder inorder)———————————————————————————————————Operating SystemTopics: –Memory ManagementPage FaultsSegmentationPagingDeadlockFragmentationUnix /Linux/(Based General Ques)Process StatesDispatcherThreadsOOPSTopics: –ClassesObjectsEncapsulationAbstractionInheritancePolymorphismStatic Members———————————————————————————————————1-2 ques based on C++ program logic (not asked output)———————————————————————————————————Data Communication & NetworkingTopics: –TopologyOSI Layers compare with TCP/IPInternetworking & Networking devicesSwitching TechniquesLAN, MAN, WANAddressing (Class- A B C D E)Port Numbers (ftp,http,https,telnet,dns,pop)MAC AddressIPV6 vs IPV4————————————————————————————————————————————————————————————Section-CMicroprocessor – 25 ques.Digital Logic – 14-15 ques.Computer Architecture – 10-11 ques.——————————————————————————————————————————————————————————————————————MicroprocessorTopics: –Microprocessors chipI/o devices (RAM ,ROM , MEMORY BASED )Microprocessrs InterfacingMicroprocessors Architecture ( Data Bus , Control Bus,Address Bus )Data transfer operationLogic operationCountersStackRegisters( Genral purpose peripharls device ),Interrupt,Interfacing and Convertes (D/A,A/D)———————————————————————————————————Digital LogicTopics: –Flip-FlopsClockRegistersLogic Gates(ex-or, ex-nor, and ,or ,not )Logic familiesK mapComplements (1’s ,2’s )Number system(BCD codes ,hexadecimal no. system & octalno. system)——————————————————————————————————-Computer ArchitectureTopics: –Machine Instruction (memory- reference nstruction , register -reference instruction,i/o instruction)Addressing ModesALU Data PathCPU Control Unit DesignMemory InterfacingPipelingMemory (cache m/r,main m/r , secondary m/r )The coures allotment Seats in various CDAC Institute:-After completing the couses various companies comes for Placing students:-BEST OF LUCK—— (*_*)——एग्जाम फोरडालो

I recommend planning your revision in these steps.Start with the ‘big’ issues - filling potholes, condensing timelines, extending character arcs, changing the order of events, adding subplots and so on, anything that affects the whole project.Next, look at structural improvement of individual scenes and chapters, e.g. strengthening the scene goal, changing a the point of view, layering internal conflict, increasing tension.Then it’s time for the nitty-gritty. Look at your personal stylistic weaknesses, such as tense errors and over-used words. (You know best which words you tend to overuse — for example, I used to use the words ‘but’ and ‘hand’ much too often.)Do a search&find for words often over-used by novice writers: look, see, could, that, begin, start, turn, smile. Remove as many as those as you can.Look for sentence structures over-used by novice writers (e.g. too many ‘as’ constructions and sentences starting with present participles), or too many sentences in a row beginning with the sentence subject.Optional: use an auto-critiquing app that flags up style weaknesses.Read the whole book aloud to yourself. And/or use a text-to-voice app to read it to you. You will hear flaws you didn’t see. Correct them.Now it’s time to send the book to your critique team for feedback. These are probably writers in the same genre. You read their manuscripts, they read yours, offering constructive criticism. I always get at least ten critiques for each book. Consider their advice, decide which suggestions you want to incorporate.Revise your manuscript with the critiques’ suggestions, starting with the ‘big’ issues, then the ‘medium’ ones, and finally the stylistic nitty-gritty.Repeat Step 7.Optional: Repeat steps 8 and 9.Proofread the manuscript. Use your word processor’s spellcheck, your own eyes, and the attentive eyes of an outside proofreader (whether hired or on a favour basis). Correct the the errors.Check and correct the formatting (i.e. that the pages are numbered or not numbered as required, that the font, size, paragraph breaks, scene breaks and chapter headings are consistent throughout the manuscript).Set the manuscript aside for a few days, then read it once more with fresh eyes, to pick up and fix errors that have been overlooked.I hope this helps.

Ahhh, yes.‘The Black Page’.A piece I am myself in the process of learning how to play. So I speak from hard experience, here.‘The Black Page #1’ was originally written as a drum solo for Terry Bozzio to play: an exercise in rhythm, played on untuned percussion, but written out. The earliest version of it that Zappa recorded is that drum solo version, on ‘Zappa in New York’.Then, as Zappa himself recounts on the album, he thought that it might have broader appeal if he took the fundamental rhythmic structure of ‘The Black Page’ and assigned pitches to it: if, in short, he turned it into a melody. And it was in that form, ‘The Black Page #2’, that most people who know it, encounter it.There are various transcriptions of ‘Black Page’ available on the internet and I’m wary of copyright infringements and spam accusations, so I’m not going to link to any. I just want to point out a few features of this tune and try to show why it is, from the point of view of this guitar player, a full-blown, joint-cracking motherfracker of a piece of music.The short answer is nested polyrhythms.Read, and learn. (Bear in mind that I am writing this answer as light relief from trying to write an answer about why ‘Giant Steps’ is so difficult.)Okay.The opening phrase of the ‘Black Page #2’, heard above at 2:57, isn’t too hard. Bar 1 consists of a ten-note phrase built off the major third, the major seventh, the ninth and the twelfth (that tiny D natural grace note):This involves quite a bit of dextrous string-skipping, but if you can hear it, and you’ve got that groovy disco beat behind you, you can play it.Then we change chords, a minor third up to Bb, and have this:—then back to the tonic chord of G on:Again, if we’re keeping up rhythmically, none of this is too challenging—that long descending quintuplet is like strolling down a staircase.But now it begins to get hairy. Between 3:18 and 3:24 in the video, this happens:A thirty-one note sentence involving an intervallic leap of a minor seventh and another of a minor tenth on that final septuplet/half-note phrase?! Please god don’t let me f*** up.The problem with this is not so much that the notes are hard to work out, but look at the steadily increasing number under those groupings: from triplet through quintuplet to septuplet, you have to accelerate in order to fit all the notes in before you get to that last G half-note for a breather.These are called nested polyrhythms, and they’re all over this piece of music.They’re called that because, in the above bar, you’re trying to fit three, then five, then seven notes into the space of two. You count the above two bar onetwothreefour / onetwothreefour / one, two, three / onetwothreefourfive onetwothreefourfivesixseven / onetwothreefourfivesixseven / oooooonnnnnneeee, against an underlying pulse of one, two, three, four, one, two, three, four.I note in passing that Zappa was very cunning to use a disco beat as the underlying pulse of of ‘Black Page #2’; it makes it far more funky and accessible than a mere metronomic pulse would have been. The underlying pulse of ‘Black Page #2’ is itself syncopated: dividing each beat into halves, you feel the beats on:one-and two-and three-and four-and.‘The Black Page #2’ isn’t all written-out difficult-ness. Bars 19–23 are identical to bars 4–9, and there are other passages where the music repeats itself, giving a sense of structure.But in between you have bits that I haven’t even tried to play yet, like bars 12–13, which seem to set the bar for sheer lunatic intricacy (4:09–4:14 in the video):But Mr Zappa is not done yet.Bar 25:is a repeat of the very nasty bar 10, but it leads into the truly jaw-dropping penultimate passage, bar 27, between 5:25–5:31:One incomplete quintuplet in thirty-second notes followed by a full one, then four regular 32nd notes, then two sets of groups of eleven notes in thirty-second notes, the ultra-fast passage in the video.I think it’s those two eleven-groupings that distinguish those who can play ‘The Black Page’ from those who can’t.That is unreally hard to do.After that, Zappa’s coda phrase in bars 29–30 is like taking your shoes off and putting your feet up:Why? Because you’re not trying to fit so many notes into so small a space. It’s repeated a few times in the above video.To sum up:‘The Black Page’ is so hard partly because the note choices are themselves quite unusual (it’s fairly dissonant but not too much) but chiefly because of the huge amount of nested polyrhythms. involved.Steve Vai, who transcribed a load of Zappa’s solos with immense skill in the Frank Zappa Guitar Book, has a nice article about advanced tempos here: The Official Steve Vai WebsiteThat concludes my very brief look at why ‘The Black Page’ is so hard to play. Thanks for reading.Note: Thanks to Curtis Lindsay for pointing out an error in my terminology in the first version of this answer!