Oxford Resources for IB DP Chemistry:

Course Book Bylikin S.

Visit to download the full and correct content document:
https://ebookmass.com/product/oxford-resources-for-ib-dp-chemistry-course-book-byl
ikin-s/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...

Chemistry : for IB diploma course preparation Sergey

Bylikin

https://ebookmass.com/product/chemistry-for-ib-diploma-course-
preparation-sergey-bylikin/

Oxford IB Diploma Programme: IB Prepared: Chemistry

Sergey Bylikin

https://ebookmass.com/product/oxford-ib-diploma-programme-ib-
prepared-chemistry-sergey-bylikin/

IB Diploma Programme Course Preparation: Physics

(Oxford IB Course Preparation) David Homer

https://ebookmass.com/product/ib-diploma-programme-course-
preparation-physics-oxford-ib-course-preparation-david-homer/

IB French B Course Book Pack: Oxford IB Diploma

Programme 2nd Edition Christine Trumper

https://ebookmass.com/product/ib-french-b-course-book-pack-
oxford-ib-diploma-programme-2nd-edition-christine-trumper/
Oxford IB Business Management - Course Companion Loykie
Lominé

https://ebookmass.com/product/oxford-ib-business-management-
course-companion-loykie-lomine/

Oxford IB Diploma Programme IB Mathematics: analysis

and approaches, Standard Level, Print and Enhanced
Online Course Book Pack (English B for Ib Diploma
Programme) Paul La Rondie
https://ebookmass.com/product/oxford-ib-diploma-programme-ib-
mathematics-analysis-and-approaches-standard-level-print-and-
enhanced-online-course-book-pack-english-b-for-ib-diploma-
programme-paul-la-rondie/

Oxford IB Diploma Programme IB Prepared: Geography

Nagle

https://ebookmass.com/product/oxford-ib-diploma-programme-ib-
prepared-geography-nagle/

Oxford IB Diploma Programme IB Prepared: Geography

Garrett Nagle

https://ebookmass.com/product/oxford-ib-diploma-programme-ib-
prepared-geography-garrett-nagle/

Oxford IB Diploma Programme: IB Prepared: Physics David

Homer

https://ebookmass.com/product/oxford-ib-diploma-programme-ib-
prepared-physics-david-homer/
Oxford Resources for IB

Diploma Programme

2 0 2 3 E D I T I O N

C H E M I S T RY

CO U R S E CO M PA N I O N

Sergey Bylikin

Gary Horner

Elisa Jimenez Grant

D avid Tarcy
Oxford Resources for IB

Diploma Programme

2 0 2 3 E D I T I O N

C H E M I ST RY

CO U R S E CO M PA N I O N

Sergey Bylikin

Gary Horner

Elisa Jimenez Grant

D avid Tarcy
 Commons; p69:Wirestock Creators/Shutterstock; p76:Sergey Bylikin; p90:DAVID

PARKER / SCIENCE PHOTO LIBRARY; p94:Pi-Lens/Shutterstock; p96(l):KKStock/

Getty Images; p96(m): M arina Kryuchina/Shutterstock; p96(r):Nneirda/

Shutterstock; p100:MARTYN F. CHILLMAID / SCIENCE PHOTO LIBRARY; p104:KARL

GAFF / SCIENCE PHOTO LIBRARY; p108:Nadezda Boltac a/Shutterstock; p111:au_uhoo/

Great Clarendon Street, Oxford, OX2 6DP, United Kingdom

Shutterstock; p112:Peky/Shutterstock; p113:ggw/Shutterstock; p118(l):Pixel B/Sh

utterstock; p118(m): maurobeltran/Shutterstock; p118(r):Anthony Bradshaw/Getty

Oxford University Press is a department of the University of Oxford. It furthers

Images;p126:bszef/Shutterstock; p127:Michelangelus/Shutterstock; p129:pirita/

the University’s objective of excellence in research, scholarship, and educ ation

Shutterstock; p130:Ben Routp135(bl): Ambelrip/Shutterstock; p135(bm): Mopic/

by publishing worldwide. Oxford is a registered trade mark of Oxford University

Shutterstock; p136(l): DENNIS KUNKEL MICROSCOPY / SCIENCE PHOTO

LIBRARY;p136(r): Jennifer Sophie/Shutterstock; p137(l):ANDREW LAMBERT

Press in the UK and in certain other countries.

PHOTOGRAPHY / SCIENCE PHOTO LIBRARY; p137(r):Pi-Lens/Shutterstock; p138:Afric a

© Oxford University Press 2023 Studio/Shutterstock; p139:TURTLE ROCK SCIENTIFIC / SCIENCE SOURCE / SCIENCE

PHOTO LIBRARY; p146(t):Wirestock Creators/Shutterstock; p146(bl): Alexey

The moral rights of the authors have been asserted Kljatov/Shutterstock; p146(br): JanMiko/Getty Images; p151:Andrey Armyagov/

Shutterstock; p161(tl): Admin/Shutterstock; p161(tr): NASA EARTH OBSERVATORY

First published in 2023

/ OZONE HOLE WATCH / SCIENCE PHOTO LIBRARY; p161(b):Brooks Kra

LLC/Corbis via Getty Images; p163(l):SMDSS/Shutterstock; p163(m): Fotoko

All rights reserved. No part of this public ation may be reproduced, stored in a
stic/Shutterstock; p163(r):DUSAN ZIDAR/Shutterstock; p164:Boris15/Shut-

retrieval system, or transmitted, in any form or by any means, without the prior terstock;p169:PHIL DEGGINGER / SCIENCE PHOTO LIBRARY; p170:PHIL

DEGGINGER / SCIENCE PHOTO LIBRARY; p186:© 2014 Garnkel et al; p188:S-F/

permission in writing of Oxford University Press, or as expressly permitted by

Shutterstock; p190(l): Yermolov/Shutterstock; p190(r): Westend61 GmbH / Alamy

law, by licence or under terms agreed with the appropriate reprographics rights
Stock Photo; p192:TURTLE ROCK SCIENTIFIC / SCIENCE PHOTO LIBRARY; p193:Adam

organization. Enquiries concerning reproduction outside the scope of the J/Shutterstock; p194:Adrienne Bresnahan/Getty Images; p196:ANDREW

LAMBERT PHOTOGRAPHY / SCIENCE PHOTO LIBRARY; p197(l):simonkr/

above should be sent to the Rights Department, Oxford University Press, at the

Getty Images; p197(r):aditya_frzhm/Shutterstock; p199:sezer66/

address above.
Shutterstock; p203:GrayM ark/Shutterstock; p206(l):Gurgen Bakhshetyan/

Shutterstock; p206(r): Tyler Olson/Shutterstock; p207(l):D avid S anger/Photographer›s

You must not circulate this work in any other form and you must impose this

Choice/Getty Images; p207(r):D ario S abljak/Shutterstock; p209:JUAN GAERTNER /

same condition on any acquirer

SCIENCE PHOTO LIBRARY; p211:HAGLEY MUSEUM AND ARCHIVE / SCIENCE PHOTO

LIBRARY;p212:Khomulo Anna/Shutterstock; p213:JAMES KING-HOLMES / SCIENCE

British Library C ataloguing in Public ation D ata

PHOTO LIBRARY; p215(t):Rich C arey/Shutterstock; p215(b):STEVE GSCHMEISSNER

D ata available / SCIENCE PHOTO LIBRARY; p216(t):Sne Tak;p216(b):STEVE GSCHMEISSNER

/ SCIENCE PHOTO LIBRARY; p220:M atej K astelic/Shutterstock; p222:Leonid

9781382016469 Andronov/Shutterstock; p228:Tom Grill/Getty Images; p231:SCIENCE SOURCE

/ SCIENCE PHOTO LIBRARY; p234:magnetix/Shutterstock; p239:Albert Russ/

9781382016506 (ebook)
Shutterstock; p240:SCIENCE PHOTO LIBRARY; p260:AtWaG/Getty Images; p278:Nigel

C attlin / Alamy; p287:ANDREW LAMBERT PHOTOGRAPHY / SCIENCE PHOTO

10 9 8 7 6 5 4 3 2 1
LIBRARY;p296:smereka/Shutterstock; p298:SCIENCE PHOTO LIBRARY; p308:SHEI-

LA TERRY / SCIENCE PHOTO LIBRARY; p311:WH CHOW/Shutterstock; p313(t):Ron

Paper used in the production of this book is a natural, recyclable product made
Kloberdanz/Shutterstock; p313(b):Tobias / Alamy; p314:MarcelClemens/Shutter-

from wood grown in sustainable forests. stock;p317:Volodymyr Nahaiets/Shutterstock; p318:Bjoern Wylezich; p319:Starring

Lab / Alamy Stock Photo; p321:Cultura Creative RF / Alamy Stock Photo; p325:Sorapop

The manufacturing process conforms to the environmental regulations of the

Udomsri/Shutterstock; p327:Oxford University Press ANZ; p332:R attiya Thongdumhyu/

Shutterstock; p335:MARTYN F. CHILLMAID / SCIENCE PHOTO LIBRARY; p338:SCIENCE

country of origin.

PHOTO LIBRARY; p339:TED KINSMAN / SCIENCE PHOTO LIBRARY; p341(t):Andrea

Printed in Italy by Rotolito SpA Obzerova / Alamy Stock Photo; p341(b):M ark Lorch/Shutterstock; p342:Reprinted

(adapted) with permission from J. Chem. Educ. 2016, 93, 7, 1249–1252 Copyright

Acknowledgements 2016 Americ an Chemic al Society; p343:Stu Shaw/Shutterstock; p351(t):Julien_N/

Shutterstock; p351(b):Ron Kloberdanz/Shutterstock; p352(tl): Oxford University

The “In cooperation with IB” logo signies the content in this textbook has been

Press;p352(tr): chromatos/Shutterstock; p352(bl): MARTYN F. CHILLMAID /

reviewed by the IB to ensure it fully aligns with current IB curriculum and oers
SCIENCE PHOTO LIBRARY; p352(br): photong/Shutterstock; p386:timandtim/

high-quality guidance and support for IB teaching and learning. Getty Images; p388(tl): John and Tina Reid/Getty Images; p388(tr): Dr Ajay Kumar

Singh/Shutterstock; p388(b):Valery Lisin/Shutterstock; p389:keerati/Shutter-

stock;p390:CHARLES D. WINTERS / SCIENCE PHOTO LIBRARY; p408:ilyankou/

The authors have the following acknowledgements and thanks:

Shutterstock; p426:tab1962/Getty Images; p427:R K awka / Alamy Stock

Sergey Bylikin: I would like to thank Dr Natalia K alashnikova for her support and
Photo;p431:Xinhua / Alamy Stock Photo; p434:Richard Liu; p439:REUTERS /

Alamy Stock Photo; p443(t): Boltzmann›s Tomb photos by Thomas D. Schneider

suggestions.

(https://alum.mit.edu/www/toms/images/boltzmann); p443(b):M ariyana M/

Gary Horner: To my friends and colleagues for their support throughout my

Shutterstock; p452:SCIENCE PHOTO LIBRARY; p453:Reprinted (adapted) with

teaching c areer, my sister Susan for her unwavering friendship, c are and profes-
permission from J. Chem. Educ. 2012, 89, 5, 675–677. Copyright 2012 Americ an Chemic al

Society;p460:Richard Liu; p468:sciencephotos / Alamy Stock Photo; p470(l):Heritage

sional advice, my inspirational parents Myrtle and Dennis: I dedic ate this book in

Image Partnership Ltd / Alamy Stock Photo; p470(r):The Granger Collection

their loving memory.

/ Alamy Stock Photo; p477(l):MAXIMILIAN STOCK LTD / SCIENCE PHOTO

Elisa Jimenez Grant: To Miljan.

LIBRARY;p477(r):ASHLEY COOPER / SCIENCE PHOTO LIBRARY; p481:nagelestock.

In memory of David Tarcy com / Alamy Stock Photo; p484:ANDREW LAMBERT PHOTOGRAPHY / SCIENCE

PHOTO LIBRARY; p497:Kenneth Brown / EyeEm; p499:dpa picture alliance / Alamy

Stock Photo; p509:bluesnote/Shutterstock; p513:CHARLES D. WINTERS / SCIENCE

The Publisher would like to thank the following members of the DP Science
PHOTO LIBRARY; p520:ANDREW LAMBERT PHOTOGRAPHY / SCIENCE PHOTO

2023 Research Panel for sharing their insights, expertise, and feedback: LIBRARY;p526:S ankei Archive via Getty Images; p536:STEVE HORRELL / SCIENCE

PHOTO LIBRARY; p538:CHARLES D. WINTERS / SCIENCE PHOTO LIBRARY; p543:SCI-

S andy Hawkinson, K athryn Russell, Ilias Liakatas, Nerissa Puntawe, Vicki Boyd,

ENCE PHOTO LIBRARY; p553:ANDREW LAMBERT PHOTOGRAPHY / SCIENCE PHOTO

Cendrella Kettaneh, Astha Acharya, Natalie Parker, Chandan Bhosale, Deepa

LIBRARY;p554:CHARLES D. WINTERS/SCIENCE PHOTO LIBRARY; p555:D avid R. Frazier

S athya and Síle-C aitríona O'C allaghan. Photolibrary, Inc. / Alamy Stock Photo; p557:SCIENCE PHOTO LIBRARY; p571:ANDREW

LAMBERT PHOTOGRAPHY / SCIENCE PHOTO LIBRARY; p581:Judy Kennamer/

Shutterstock; p583:MARTYN F. CHILLMAID / SCIENCE PHOTO LIBRARY; p591:MARTYN

The Publisher wishes to thank the International Bacc alaureate Organization for
F. CHILLMAID / SCIENCE PHOTO LIBRARY; p592:Colin Hawkins/Getty

permission to reproduce their intellectual property. Images;p594(l):SCIENCE PHOTO LIBRARY; p594(r): SHEILA TERRY / SCIENCE PHOTO

LIBRARY;p599:Dorling Kindersley/Getty Images; p608(l):© Corbis; p608(r): ggw/

Shutterstock; p619:REUTERS / Alamy Stock Photo; p632:Pictorial Press Ltd / Alamy Stock

The publisher and authors would like to thank the following for permission to

Photo;p637:ANDREW LAMBERT PHOTOGRAPHY / SCIENCE PHOTO LIBRARY.

use photographs and other copyright material:

Artwork by Q2A Media, Aptara Inc., GreenGate Publishing Services, Six Red M arbles,

Cover:www.ickr/GettyImages. Photos; p2: Copyright by Boonchet Ch./Getty

Barking Dog Art, IFA Design, Phoenix Photosetting, Thomson Digital, Tech-Set Ltd, Wearset

Images;p3:With permission of Cornell University; p5(t):Jonak Photography/

Ltd, HL Studios, Peter Bull Art Studio, Tech Graphics, James Stayte, Trystan Mitchell, Clive

Getty Images; p5(b):M asterpics / Alamy Stock Photo; p6(l):mirecc a/Getty

Goodyer, Je Bowles, Roger Courthold, Mike Ogden, Je Edwards, Russell Walker, Clive

Images;p6(m):Jrgen Wambach / EyeEm/Getty Images; p6(r):RHJPhtotos/

Goodyer, Jamie Sneddon, D avid Russell, M ark Walker, Erwin Haya, Paul Gamble, Sergey

Shutterstock; p7(l):Remigiusz Gora/Getty Images; p7(m):MARTYN F. CHILLMAID

Bylikin, Elisa Jimenez Grant and Oxford University Press. Index by James Helling.

/ SCIENCE PHOTO LIBRARY; p7(r):stockcreations/Shutterstock; p12:Andrea

Izzotti/Shutterstock; p13(t):Jan Halaska / Alamy Stock Photo; p13(b):KPG_Payless/

Although we have made every eort to trace and contact all copyright holders before

Shutterstock; p14:Alexey Kljatov/Shutterstock; p15:Wayne E astep/Getty Images; p16:©

public ation this has not been possible in all cases. If notied, the publisher will rectify any

BIPM;p22:one-image photography / Alamy Stock Photo; p23:IBM RESEARCH

errors or omissions at the earliest opportunity.

/ SCIENCE PHOTO LIBRARY; p26:Artiom Photo/Shutterstock; p28(t):PATRICK

Links to third party websites are provided by Oxford in good faith and for information only.

LANDMANN / SCIENCE PHOTO LIBRARY; p28(b):Science History Images / Alamy

Oxford disclaims any responsibility for the materials contained in any third party website

Stock Photo; p31:FRANCOIS GUILLOT/AFP via Getty Images; p35:Denis Belitsky/

referenced in this work.

Shutterstock; p36:Fotomaton / Alamy Stock Photo; p37(t):H.S. Photos / Alamy

Stock Photo; p37(b):Zern Liew/Shutterstock; p63:CHARLES D. WINTERS /

SCIENCE PHOTO LIBRARY; p66:Nneirda/Shutterstock; p67(l):Ashley Cooper/

Getty Images; p67(r):Ludovic C aritey / 500px/Getty Images; p68:Mysid/Wikimedia

Contents

Structure 1. Models of the particulate nature of matter 2

Structure 1.1

Structure 1.2

Structure 1.3

Structure 1.4

Structure 1.5

Structure 2. Models of bonding and structure 94

Structure 2.1

Structure 2.2

Structure 2.3

Structure 2.4

Structure 3. Classic ation of matter 228

Structure 3.1

Structure 3.2

Tools for chemistry 308

Tool 1:

Tool 2:

Tool 3:

Reactivity 1. What drives chemic al reactions? 386

Reactivity 1.1

Reactivity 1.2

Reactivity 1.3

Reactivity 1.4

Reactivity 2. How much, how fast and how far? 460

Reactivity 2.1

Reactivity 2.2

Reactivity 2.3

Reactivity 3. What are the mechanisms of chemic al change? 536

Reactivity 3.1

Reactivity 3.2

Reactivity 3.3

Reactivity 3.4

Cross-topic exam-style questions 652

The inquiry process (authored by Maria Muñiz Valcárcel) 655

The internal assessment (IA) (authored by Maria Muñiz Valcárcel) 668

Index 686

Periodic Table 708

Answers: www.oxfordsecondary.com/ib-science-support

iii
 Introduction

The diploma programme (DP) chemistry course is aimed at students in the 16

to 19 age group. The curriculum seeks to develop a conceptual understanding

of the nature of science, working knowledge of fundamental principles of

chemistry and practic al skills that c an be applied in familiar and unfamiliar

contexts. As with all the components of the DP, this course fosters the IB learner

prole attributes (see page viii) in the members of the school community.

Nature of science

Nature of science (NOS) is concerned with methods, • F alsication

purposes and outcomes that are specic to science. Hypotheses c an be proved false using other

NOS is a central theme that is present across the evidence, but they c annot be proved to be

entire course. You will nd suggested NOS features denitely true. This has led to paradigm shis in

throughout the book and are encouraged to come up science throughout history.

with further examples of your own as you work through

• Models

the programme.

Scientists construct models as simplied

NOS c an be organized into the following eleven explanations of their observations. Models oen

aspects: contain assumptions or unrealistic simplic ations,

but the aim of science is to increase the complexity

• Observations and experiments

of the model, and to reduce its limitations.

Sometimes the observations in experiments are

unexpected and lead to serendipitous results. • Theories

A theory is a broad explanation that takes observed

• Measurements

patterns and hypotheses and uses them to generate

Measurements c an be qualitative or quantitative,

predictions. These predictions may conrm a

but all data are prone to error. It is important to

theory (within observable limitations) or may falsify

know the limitations of your data.

it.

• Evidence

• Science as a shared activity

Scientists learn to be sceptic al about their

Scientic activities are oen c arried out in

observations and they require their knowledge to

collaboration, such as peer review of work before

be fully supported by evidence.

public ation or agreement on a convention for clear

• Patterns and trends

communic ation.

Recognition of a pattern or trend forms an

• Global impact of science

important part of the scientist’s work whatever the

Scientists are responsible to society for the

science.

consequences of their work, whether ethic al,

• Hypotheses
environmental, economic or social. Scientic

Patterns lead to a possible explanation. The

knowledge must be shared with the public clearly

hypothesis is this provisional view and it requires

and fairly.

further veric ation.

iv
Syllabus structure

Topics are organized into two main concepts: structure and reactivity. This is shown in the syllabus roadmap

below. The skills in the study of chemistry are overarching experimental, technologic al, mathematic al and inquiry

skills that are integrated into the course. Chemistry is a practic al subject, so these skills will be developed through

experimental work, inquiries and investigations.

Skills in the study of chemistry

Structure Reactivity

Structure refers to the nature of matter Reactivity refers to how and why

from simple to more complex forms chemic al reactions occur

Structure determines reactivity, which in turn transforms structure

Structure 1. Structure 1.1 — Introduction to Reactivity 1. Reactivity 1.1 — Measuring

Models of the the particulate nature of matter What drives enthalpy changes

particulate nature chemic al

Structure 1.2 — The nuclear atom Reactivity 1.2 — Energy cycles in

of matter reactions?
reactions

Structure 1.3 — Electron Reactivity 1.3 — Energy from fuels

congurations

Structure 1.4 — Counting Reactivity 1.4 — Entropy and

particles by mass: The mole spontaneity (Additional higher

level)
Structure 1.5 — Ideal gases

Structure 2. Structure 2.1 — The ionic model Reactivity 2. Reactivity 2.1 — How much? The

Models of How much, amount of chemic al change

bonding and how fast and

Structure 2.2 — The covalent Reactivity 2.2 — How fast? The

structure how far?

model rate of chemic al change

Structure 2.3 — The metallic Reactivity 2.3 — How far? The

model extent of chemic al change

Structure 2.4 — From models to

materials

Structure 3. Structure 3.1 — The periodic Reactivity 3. Reactivity 3.1 — Proton transfer

Classic ation of table: Classic ation of elements What are the reactions

matter mechanisms
Reactivity 3.2 — Electron transfer

of chemic al
reactions

change?

Structure 3.2 — Functional Reactivity 3.3 — Electron sharing

groups: Classic ation of organic reactions

compounds
Reactivity 3.4 — Electron-pair

sharing reactions

Chemistry concepts are thoroughly interlinked. For example, as shown in the

roadmap above, “Structure determines reactivity, which in turn transforms structure”.

You are therefore encouraged to continuously reect on the connections between

new and prior knowledge as you progress through the course. Linking questions will

help you explore those connections. In assessment tasks, you will be expected to

identify and apply the links between dierent topics. On page 652, there are three

examples of DP-style exam questions that link several dierent topics in the course.

v
 How to use this book

The aim of this book is to develop conceptual understanding, aid in skills

development and provide opportunities to cement knowledge and

understanding through practice.

Feature boxes and sections throughout the book are designed to support these

aims, by signposting content relating to particular ideas and concepts, as well as

opportunities for practice. This is an overview of these features:

Developing conceptual understanding

These boxes in the

Guiding questions

margin will direct you

to other parts of the

Each topic begins with a guiding question to get you thinking. When you

book where a concept

start studying a topic, you might not be able to answer these questions

is explored further or in

condently or fully, but by studying that topic, you will be able to answer

a dierent context. They

them with increasing depth. Hence, you should consider these as you work

may also direct you to

through the topic and come back to them when you revise your

prior knowledge or a skill

understanding.

you will need, or give

a dierent way to think

Linking questions
about something.

Linking questions within each topic highlight the connections between

content discussed there and other parts of the course.

Nature of science

These illustrate NOS using issues from both modern science and science

history, and show how the ways of doing science have evolved over the

centuries. There is a detailed description of what is meant by NOS and the

dierent aspects of NOS on the previous page. The headings of NOS feature

boxes show which of the eleven aspects they highlight.

Theory of knowledge

This is an important part of the IB Diploma course. It focuses on critic al

thinking and understanding how we arrive at our knowledge of the world.

The TOK features in this book pose questions for you that highlight these

issues.

Parts of the book have a coloured bar on the edge of the page or next to a
LHA

question. This indic ates that the material is for students studying at DP

Chemistry Higher Level. AHL means “additional higher level”.

vi
Developing skills

ATL Approaches to learning Chemistry skills

These ATL features give examples of how famous These contain ways to develop your mathematic al,

scientists have demonstrated the ATL skills of experimental or inquiry skills, especially through

communic ation, self-management, research, experiments and practic al work. Some of these

thinking and social skills, and prompt you to think c an be used as springboards for your Internal

about how to develop your own strategies. Assessment.

To o l s for c h e m i s t r y, the inquiry p r o c e ss and internal a ss e ss m e n t

These three section of the book are full of reference material for all the essential mathematic al and

experimental tools required for DP Chemistry, details on data analysis and modelling chemistry, as

well as guidance on how to use the inquiry process in the study of the subject and to work through

your Internal Assessment. Flick to this section as your working through the rest of the book for

more information. Links in the margin throughout the book will direct you towards it too.

Practicing

Worked examples Practice questions

These are step-by-step examples of how to answer

These are designed to give you further practice at

questions or how to complete c alculations. You

using your chemistry knowledge and to allow you to

should review these examples c arefully, preferably

check your own understanding and progress.

aer attempting the question yourself.

Data-based questions Activity

Part of your nal assessment requires you to answer questions that are based These give you an

on the interpretation of data. Use these questions to prepare for this. They opportunity to apply

are also designed to make you aware of the possibilities for data acquisition your chemistry

and analysis for day-to-day experiments and for your IA. knowledge and skills,

oen in a practic al way.

End-of-topic questions

Use these questions at the end of each topic to draw together concepts from that topic and to practise

answering exam-style questions.

vii
 Course book denition The IB Learner Prole

The IB Diploma Programme course books are resource The aim of all IB programmes to develop internationally

materials designed to support students throughout minded people who work to create a better and

their two-year Diploma Programme course of study more peaceful world. The aim of the programme is to

in a particular subject. They will help students gain an develop this person through ten learner attributes, as

understanding of what is expected from the study of described below.

an IB Diploma Programme subject while presenting

Inquirers: They develop their natural curiosity. They

content in a way that illustrates the purpose and aims

acquire the skills necessary to conduct inquiry and

of the IB. They reect the philosophy and approach of

research and snow independence in learning. They

the IB and encourage a deep understanding of each

actively enjoy learning and this love of learning will be

subject by making connections to wider issues and

sustained throughout their lives.

providing opportunities for critic al thinking.

Knowledgeable: They explore concepts, ideas and

The books mirror the IB philosophy of viewing the

issues that have loc al and global signic ance. In so

curriculum in terms of a whole-course approach;

doing, they acquire in-depth knowledge and develop

the use of a wide range of resources, international

understanding across a broad and balanced range of

mindedness, the IB learner prole and the IB Diploma

disciplines.

Programme core requirements, theory of knowledge,

the extended essay, and creativity, activity, service

Thinkers: They exercise initiative in applying thinking

(CAS).
skills critic ally and creatively to recognize and approach

complex problems, and to make reasoned, ethic al

E ach book c an be used in conjunction with other

decisions.

materials and, indeed, students of the IB are required

and encouraged to draw conclusions from a variety

Communic ators: They understand and express

of resources. Suggestions for additional and further

ideas and information condently and creatively in

reading are given in each book and suggestions for

more than one language and in a variety of modes of

how to extend research are provided.

communic ation. They work eectively and willingly in

collaboration with others.

In addition, the course companions provide advice

and guidance on the specic course assessment

Principled: They act with integrity and honesty, with

requirements and on ac ademic honesty protocol.

a strong sense of fairness, justice and respect for the

They are distinctive and authoritative without being

dignity of the individual, groups and communities.

prescriptive.
They take responsibility for their own action and the

consequences that accompany them.

Open-minded: They understand and appreciate their

IB mission statement
own cultures and personal histories, and are open

The International Bacc alaureate aims to develop

to the perspectives, values and traditions of other

inquiring, knowledgeable and c aring young people

individuals and communities. They are accustomed to

who help to create a better and more peaceful world

seeking and evaluating a range of points of view, and

through intercultural understanding and respect.

are willing to grow from the experience.

To this end, the organization works with schools,

C aring: They show empathy, compassion and respect

governments and international organizations to

towards the needs and feelings of others. They have

develop challenging programmes of international

a personal commitment to service, and to act to make

educ ation and rigorous assessment.

a positive dierence to the lives of others and to the

environment.

These programmes encourage students across the

world to become active, compassionate and lifelong

learners who understand that other people, with their

dierences, c an also be right.

viii
Risk-takers: They approach unfamiliar situations and ‘Formal’ means that you should use one of the several

uncertainty with courage and forethought, and have accepted forms of presentation. This usually involves

the independence of spirit to explore new roles, separating the resources that you use into dierent

ideas and strategies. They are brave and articulate in c ategories (e.g. books, magazines, newspaper

defending their beliefs. articles, internet-based resources, and works of art)

and providing full information as to how a reader or

Balanced: They understand the importance of

viewer of your work c an nd the same information. A

intellectual, physic al and emotional ballance to achieve

bibliography is compulsory in the Extended Essay.

personal wellbeing for themselves and others.

What constitutes malpractice?

Reective: They give thoughtful consideration to their

M alpractice is behaviour that results in, or may result in,

own learning and experience. They are able to assess

you or any student gaining an unfair advantage in one

and understand their strengths and limitations in order

or more assessment component. M alpractice includes

to support their learning and personal development.

plagiarism and collusion.

Plagiarism is dened as the representation of the ideas

or work of another person as your own. The following

A note on ac ademic
are some of the ways to avoid plagiarism:

integrity
●
words and ideas of another person to support one’s

arguments must be acknowledged

It is of vital importance to acknowledge and

appropriately credit the owners of information when

●
passages that are quoted verbatim must

that information is used in your work. Aer all, owners

be enclosed within quotation marks and

of ideas (intellectual property) have property rights.

acknowledged

To have an authentic piece of work, it must be based

on your individual and original ideas with the work of

●
email messages, and any other electronic media

others fully acknowledged. Therefore, all assignments,

must be treated in the same way as books and

written or oral, completed for assessment must use your

journals

own language and expression. Where sources are used

●
the sources of all photographs, maps, illustrations,
or referred to, whether in the form of direct quotation

computer programs, data, graphs, audio-visual and

or paraphrase, such sources must be appropriately

similar material must be acknowledged if they are

acknowledged.

not your own work

●
when referring to works of art, whether music, lm

How do I acknowledge the work of

dance, theatre arts or visual arts and where the

others? creative use of a part of a work takes place, the

The way that you acknowledge that you have used the original artist must be acknowledged.

ideas of other people is through the use of footnotes

Collusion is dened as supporting malpractice by

and bibliographies.

another student. This includes:

Footnotes (placed at the bottom of a page) or endnotes

●
allowing your work to be copied or submitted for

(placed at the end of a document) are to be provided

assessment by another student

when you quote or paraphrase from another document

●
duplic ating work for dierent assessment
or closely summarize the information provided in

components and/or diploma requirements.

another document. You do not need to provide a

footnote for information that is part of a ‘body of

Other forms of malpractice include any action that gives

knowledge’. That is, denitions do not need to be

you an unfair advantage or aects the results of another

footnoted as they are part of the assumed knowledge.

student. Examples include, taking unauthorized

material into an examination room, misconduct during

Bibliographies should include a formal list of the

an examination and falsifying a CAS record.

resources that you used in your work.

ix
 Experience the future of education

technology with Oxford’s digital

oÏer for DP Science

You’re already using our print resources, but have you tried our digital course on

Kerboodle?

Developed in cooperation with the IB and designed for the next generation of

students and teachers, Oxford’s DP Science oer brings together the IB curriculum

and future-facing functionality, enabling success in DP and beyond. Use both print

and digital components for the best blended teaching and learning experience.

Learn anywhere with mobile-

optimized onscreen access to

student resources and oΎine

access to the digital Course Book

Encourage motivation with a variety

of engaging content including

interactive activities, vocabulary

exercises, animations, and videos

x
Embrace independent learning and Deepen understanding with intervention

progression with adaptive technology that and extension support, and spaced

provides a personalized journey so students repetition, where students are asked follow-

can self-assign auto-marked assessments, get up questions on completed topics at regular

real-time results and are oΊered next steps intervals to encourage knowledge retention

Enhance reporting with rich

data collected to support

responsive teaching at an

individual and class level

Recommend Oxford’s digital oΊer for DP Science to your school today!

For more information and to sign up for free trial access, go to:

www.oxfordsecondary.com/ib/dpscience

xi
Structure 1

Models of the particulate

nature of m a tt e r
 Structure 1.1 Introduction to the

particulate nature

of matter

How c an we model the particulate nature of matter?

The universally accepted idea that all matter is composed of

atoms came from experimental evidence that could only be

explained if matter were made of particles.

Early classical theory suggested that all matter was composed

of earth, air, re, and water. However, this theory lacked

predictive power and could not account for the great variety

of chemical compounds, so it was eventually abandoned.

The systematic study of chemical changes led to the

discovery of many chemical elements that could not be

broken down into simpler substances. The fact that these

elements could only combine with one another in xed

proportions suggested the existence of atoms. It was this

 Figure 1 In 2021, scientists at Cornell University c aptured the

way of processing knowledge through observation and most detailed picture of atoms to date. What do models show us that

experimentation which led to the modern atomic theory microscope images c annot?

Understandings

Structure 1.1.1 — Elements are the primary constituents Structure 1.1.2 — The kinetic molecular theory is a model

of matter, which c annot be chemic ally broken down into to explain physic al properties of matter (solids, liquids,

simpler substances. and gases) and changes of state.

Compounds consist of atoms of dierent elements Structure 1.1.3 — Temperature (in K) is a measure of

chemic ally bonded together in a xed ratio. average kinetic energy (E ) of particles.
k

Mixtures contain more than one element or compound

in no xed ratio, which are not chemic ally bonded and

so c an be separated by physic al methods.

The composition of matter (Structure 1.1.1)

M atter and energy

C h e mi s t r y is th e study of matt e r and its c o mp o s i t i o n . M a tte r is e ve r y w he re.

We a re made up of ma tte r, we c o n s u me i t, it s u r ro u n ds us, and we c an see

and touch m a ny fo r m s of ma tt e r. Air is a fo r m of ma tte r th a t we kn ow is t he re,

th o u g h we c annot see i t. The u n i ve rs e is made of m a tt e r and c he mi s tr y seeks

to ex pa n d our u n de rs t a n di n g of ma tte r and its pro pe r t i e s . The characteristics

of matter are shown in gure 2.

In contrast, energy is anything that exists but does not have these properties.

M atter and energy are closely associated with each other, and energy is oen

considered as a property of matter, such as the ability to perform work or

produce heat.

3
 Structure 1 Models of the particulate nature of matter

Although mass and energy c an be converted into one another (for example, in

Chemic al reactions are introduced

nuclear reactors or inside stars), chemistry studies only those transformations of

in Reactivity 1.1.

matter where both mass and energy are conserved. In chemic al reactions, the

products have the same mass as starting materials, and the energy is transformed

from one form to another rather than created or destroyed.

made up of

particles –

atoms,

molecules,

or ions

u Figure 2 The characteristics of matter

particles are occupies a

in constant MATTER volume in

motion space

has a mass

ATL Thinking skills

The famous Einstein equation, E = mc , shows that mass (m) and energy

(E) are interconvertible. However, the energy released or absorbed in

chemic al reactions is relatively small while the speed of light (c) is very large

8 –1

(3.00 × 10 m s ). As a result, the loss or gain in mass c aused by chemic al

changes is negligible.

This example demonstrates the importance of approximation in science: if

the eect of a certain factor is minor, it c an oen be ignored in c alculations

without compromising the nal result.

What other examples of negligible eects have you encountered

inchemistry?

4
 Structure 1.1 Introduction to the particulate nature of matter

The atomic theory

The law of conservation of mass and the observation that certain substances

always combine in denite proportions led to the idea that matter was composed

of elements. It was theorized that elements combined to form other substances

but could not be broken down chemic ally. Hydrogen and oxygen c an react to

form water, and experiments showed that the mass of hydrogen and oxygen

consumed equalled the mass of water formed. Other experiments showed that

1.0 g of c arbon would react with 1.33 g of oxygen through combustion to form

c arbon monoxide, and with 2.66 g of oxygen to form c arbon dioxide.

It was proposed that elements, such as hydrogen, oxygen or carbon, are the

The internal structure and

primary constituents of matter, and they cannot be chemically broken down into

characteristics of atoms will be

simpler substances. The idea of denite proportions suggested that particles of one

discussed in Structure 1.2

element, called atoms, would combine with atoms of another element in a xed,

simple ratio, and that atoms of one element have a dierent mass than atoms of a

dierent element. This, and other experimental evidence, led to the atomic theory.

The atomic theory states that all matter is composed of atoms. These atoms

c annot be created or destroyed, but they are rearranged during chemic al

reactions. Physic al and chemic al properties of matter depend on the bonding

and arrangement of these atoms.

Evidence

Ancie nt atomists, among them the In dian s age

Uddāl ak a Ā runi and the Gre ek philos ophers

Democ ritus and Leuci ppus, re a sone d that matte r

w as made up of tiny, indi visible pa rticl es. They

postu late d that chan ges in the natu ra l wor ld are due to

interactions betwe en these parti cles.

In 8th century BCE, Āruni proposed that “particles too

small to be seen mass together into the substances and

objects of experience”. He c alled the particles “kana”.

Similarly, in 5th century BCE, Democritus is said to have

observed that one could successively snap a seashell

into increasingly smaller parts until producing powder

composed of indivisible units, known as “atomos”, “not

splittable”, that could not be broken any further.

The next stage in the development of atomic theory, over

2000 years later, is credited to John D alton. D alton drew

from mass conservation experiments to propose that

atoms could be classied into dierent types known as

“elements”, based on their masses.

Scientic knowledge must be supported by veriable

evidence. What evidence was used to develop these

atomic theories? What is evidence? Is evidence shaped

 Figure 3 Top: Āruni lived in what is now modern day

by our perspective?

Northern India, by the Ganges river. Bottom: Democritus is

depicted in a Renaissance-era painting

5
 Structure 1 Models of the particulate nature of matter

Chemic al symbols

In modern chemistry, atoms and elements are represented by the same symbols,

which consist of one or two letters and are derived from the element names. For

example, the chemic al symbol for hydrogen is H (the rst letter of hydrogen), and

the chemic al symbol for iron is Fe (the rst two letters of the L atin ferrum “iron”).

Symbol Name
Common chemic al elements and their symbols are listed in table1; the full list is

given in the data booklet and in the periodic table at the end of this book.
H hydrogen

C c arbon
Atoms are the smallest units of matter that still possess certain chemic al

properties. While atoms c an exist individually, they tend to combine together

O oxygen

and form chemic al substances. Elementary substances contain atoms of a single

Na sodium

element, while chemic al compounds contain atoms of two or more elements

Mg magnesium

bound together by chemic al forces. For example, magnesium metal is an

S sulfur
elementary substance, as it contains only one type of atom, Mg. Similarly, sulfur

(S) is another elementary substance composed of sulfur atoms only. In contrast,

Cl chlorine

magnesium sulde (MgS) is a chemic al compound, as it consists of two dierent,

Fe iron

chemic ally bound atomic species, Mg and S (gure4). MgS is the chemic al

 Table 1 Common chemic al elements formula of magnesium sulde.

 Figure 4 M agnesium (le), sulfur (middle) and magnesium sulde (right)

Pure substances and mixtures

M atter c an be classied as a pure substance or a mixture, depending on the type

of particle arrangement (gure 5).

matter – any substance that

occupies space and has mass

pure substance – has a definite and mixture – a combination of two or more pure

uniform chemical composition substances that retain their indiidual properties

element – compound – composed homogeneous – has

heterogeneous – has

composed of one of two or more kinds of uniform composition

nonuniform composition

kind of atoms, e.g., atoms in a fixed ratio, and properties

and arying properties,

magnesium (Mg), e.g., magnesium sulfide throughout, e.g., sea

e.g., paint, salad dressing

sulfur (S) (MgS), water (H ) water, metal alloy



 Figure 5 How matter is classied according to the arrangement of particles

6
 Structure 1.1 Introduction to the particulate nature of matter

Pure substances cannot be separated into individual constituents without a chemical

reaction, which alters their physical properties. In contrast, mixtures can be separated

into individual components that retain their respective physical properties.

Data-based questions

A student had two pure substances, A and B. They were heated in separate crucibles and some qualitative and

quantitative observations were made and recorded in table 2.

 Substance B
 Substance A

 Appearance aer heating each of the two substances

M ass of crucible

M ass of crucible Change in Observations aer

Observations
and contents aer
Substance
and substance / g mass / g heating
before heating
heating / g

A Red colour 26.12 ± 0.02 26.62 ± 0.02 Black colour

B Green colour 27.05 ± 0.02 25.76 ± 0.02 Black colour

 Table 2 Results from heating substances A and B

1. C alculate the change in mass for substances A and B.

2. State a qualitative observation from the experiment performed on A and B.

3. Melting ice is a physic al change while rusting iron is a chemic al change. Explain, using the observations, whether

the changes to substances A and B represented a physic al change or a chemic al change.

4. A and B were both pure substances, not mixtures. Discuss whether the experiment shows that A and B are

elements.

5. Both A and B turned black on heating. C an it be concluded that the heating of these two substances produced the

same substance?

7
 Structure 1 Models of the particulate nature of matter

Melting point determination

Melting point data c an be used to a ss e ss the Method

purity of a s u b s t a n c e. Pure substances h av e sharp (Your teacher will provide specic instructions, depending

melting points, which me ans they melt at a specific on the identity of the solids being analysed.)

t e m p e ra t u r e that closely matches the the oretic al

1. Obtain samples of two organic solids (A and B) for

v a l u e. The presence of impurities in a substance

analysis.

l ow e rs its melting point and c auses melting to occur

2. Prepare samples of each solid in two separate

over a t e m p e ra t u r e ra n g e.
c apillary tubes.

3. Following your teacher ’s instructions, mix small

Relevant skills

amounts of the two solids together.

• Tool 1: Melting point determination

4. Prepare, in a third c apillary tube, a small sample of the

• Inquiry 2: Identify and record relevant qualitative

mixture of the two solids.

observations and sucient relevant quantitative data

5. Determine the melting point of your three samples

Materials

(A, B and the mixture).

• Melting point apparatus

Questions

• C apillary tubes

1. Record relevant qualitative and quantitative data in an

• S amples of two known organic solids, for example,

appropriate format.

aspirin and salol (phenyl 2-hydroxybenzoate)

2. Comment on the results, comparing the melting

S afety points of pure substances with impure substances.

• Wear eye protection. 3. Research the structural formulas of A and B and use

• Note that the melting point apparatus gets very hot. this information to explain the dierence in their

• You teacher will give you further safety prec autions, melting points.

depending on the identity of the solids being 4. To what extent could melting point data be used to

analysed (for example, salol and aspirin are irritants analyse the success of an organic synthesis?

and environmentally hazardous).

Mixtures contain more than one element or compound in no xed ratio, which

Methods for determining the

are not chemic ally bonded and so c an be separated by physic al methods.

melting point of a substance are

Mixtures c an be homogeneous, in which the particles are evenly distributed.

discussed in the Tools for chemistry

Air is a mixture of nitrogen, oxygen, and small amounts of other gases. Air is a

chapter.

homogeneous mixture, and its composition of roughly 80% nitrogen and 20%

oxygen is consistent regardless of where air is sampled.

If the particles are not evenly distributed, such as in a mixture of two solids, then

the mixture is referred to as heterogeneous. Natural milk will have the cream rise

to the top, which reveals that milk is a heterogeneous mixture.

E ach component of a mixture maintains its physic al and chemic al properties. For

The most common homogeneous

example, hydrogen, H , is explosive, and oxygen, O , supports combustion.
2 2

mixtures, aqueous solutions, will

When these substances are present in a mixture, their properties stay the same.

be discussed in Reactivity 3.1, and

In contrast, water, H O, is not a mixture of hydrogen and oxygen but a chemic al
2

the properties of metal alloys in

compound formed by bonding two hydrogen atoms with one oxygen atom.

Structure 2.4.
The new substance has none of the properties of hydrogen or oxygen. It is not a

gas, is not explosive, and it does not support combustion. It is a pure substance

with its own properties and the hydrogen and oxygen c annot be separated from

water without a chemic al reaction, which creates new substances.

8
 Structure 1.1 Introduction to the particulate nature of matter

Separating mixtures

Mixtures c an be separated by physic al means bec ause each component of the

mixture has unique properties. A mixture of iron and sulfur powders c an be

separated using a magnet. Iron is magnetic while sulfur is not. This dierence

in property is used to separate them. The compound iron(II) sulde, FeS, is not

magnetic and does not have a sulfurous smell. It maintains none of the properties

of the components as it is a new, individual pure substance.

Two solids c an usually be separated if we understand their intermolecular forces.

S and c an be separated from sugar bec ause sugar will dissolve in water, due to

the intermolecular attractions between sugar and water.

Th e solid m i x tu re of sand and s u ga r is placed in water and t he s u ga r

Intermolecular forces are discussed

di ss o l ve s . T he solution c an th e n be po u re d t h ro u g h fi l t e r paper placed i n s i de

in Structure 2.2

a funnel, a p ro c e ss c alled fil t ra t i on (fi gu re 6 ). T he l a rg e sand p a r ti c l e s will

not p a ss th ro u gh and re m a i n on th e fi l t e r p a p e r, w h e re a s the sugar d i ss o l ve d

in th e w a te r will p a ss t h ro u gh t he f i l te r p a p e r. Th e wet sand is dried, and th e

w a te r e v a p o ra te s l e av i n g behind th e pu re sand. Th e s u ga r c an be o bt a i n e d

by e v a p o ra t i n g th e w a te r f ro m the fil tra t e — the solution which pa ss e d

th ro u gh t he f i l te r pa p e r. S u ga r c r ys ta l s will fo r m in t hi s c r yst al li za t i on pro c e ss

(fi gu re 7 ).

filter paper

filter funnel

residue

(We define

a residue

as a substance

that remains

aer evaporation,

distillation,

filtration or any

similar process)

filtrate

 Figure 6 Filtration apparatus

evaporating sugar solution

basin

solution from

evaporating basin

leave for a few days

cold tile
t Figure 7 The crystallization

heat

for sugar to crystallize

process

9
Another random document with
no related content on Scribd:
HUU PURI.

Oottako kuullu jotta meirän piikaa on purru huu?

— Huu?!? Mikä s’oon? — kysyttä te, arvoosa yleesö, justhin niinku

mäkin kysyyn meirän frouvalta, joka siitä mulle kertooki.

— Huu sit’on purru — sanoo frouva.

— Huu? — imehtelin mä silmät tapilla. — Kuka s’oon ja mihkä

paikkaan s’oon purru ja onko pahoonki purru, oikee verislihallekko?

Frouva katteli kovasti halveksuvasti mun päälleni ja nakkeli

niskojansa. Mutta ku mä seisoon ku ainaki kysymysmerkki, niin
kysyy viimmee jotta:

— Ekkö sä tiärä mik’on huunpurema?

Mä pyärittelin vain silmäni ja sanoon suarahan jotta:

— Mä en tunne sennimistä herraa, enkä m’oo kuulukkaa niin

mukavaa sukunimiä.

— No ei sunkaan se ihminen ookkaa! — tokaasi frouva.

 — No mikäs peijakas sit’on sitte purru? — Ettähän te vain oo
ruvennu sonsaria karahteeraamhan uurella nimellä?

— Ekkö sä totisesti oo kuullu puhuttavan huunpuremasta? —

kysyy frouva jo aivan vakavana.

Ja kun mä oikee vesissilmin vannoon ja vakuutin, niin rupes

viimmee seliittämhän, jotta:

— Em mä tiärä oikee ittekkää, mikä se huunpurema on, mutta

jokin salaperääne henki se vissihin on, ku — — —

Mun nousi tiätysti niskakarvat pysthyn.

— Kun yhtäkkiää tuloo iholle sinisiä merkkiä ja jälkiä aivan

ittestänsä, jottei tiärä mistää — kertoo frouva.

— Kun Hilta tänä aamuna puki ylensä, niin molemmis käsivarsis ja

kaulalla oli huun puremia, sinisiä jälkiä.

Mun laski hiukset pääs heti ja taisin mä vähän nauraa

pihahuttaaki, kun frouva suuttuu, ja sanoo jotta:

— No totta s’oon, älä yhtää virnistäkkää siinä. — Hilta! — Hilta,

tuu tänne! — rupes frouva huuthon.

Ja Hilta tuli.

— Eikös sun’oo, Hilta, huun puremia käsivarsis, kun herr’ei usko?

— O-on — mulla — änkytti Hilta, jok’on pulskanpualeene flikka ja

hyväs lihas.

— Näytä herralle — komenti frouva.

 — Ei-jei, ei se passaa että Hilta täs riisumhan rupiaa — hätäälin
mä.

Mutta mikään ei auttanu. Hiltan piti vetää pusurin hiat ylhä ja

näyttää käsivarsiansa. Ja niis oliki sinisiä merkkiä.

— Ja kaulalla kans! — sanoo frouva.

Hilta näytti.

Mä syynäsin ja oikee sormella koitinki, niin olih! Sinisiä plättyjä

siin’oli.

— Mistä n’oon tullu? — kysyyn mä ja kattoon suaraa Hiltaa

silmihin.

— En mä tiärä, kun aamulla huamaattin, niin näin — — seliitti

Hilta. —
Huun puremia n’oon. On niitä ollu ennenkin — — —

Mutta silloon mä suutuun.

Sanoon suarahan jotta:

— Kuule ny Hilta ja muista se mitä mä sanon. Ja s’oon sitä paljo,

jotta täss taloos ei saa huu enää reisuakaa purra! Ja muista se!

Niin sanoon ja lährin kamarihin. Hilta rupes itkiä pillittämhän.

— Huun purema! — jahkuloottin mä itsekseni. — Kyllä se kans

keksii ja luuloo mua narraavansa!

Frouva tuli perähän ja rupes meiskaamhan jotta:

 — Mitä sä oikee meinaat? Hilta köökis itköö, ku sä tualla lailla
puhut.

— Huun puremia ne o — vakuutti frouva.

— Huun puremia! Usko sä vain, mutta mä sanon ny kerta

kaikkiastansa, jotta huuta ei ookkaan, s’oon vales!

— Katto sanakirjasta niin näet — sanoo frouva ja meni ja haki

Tiatosanakirjan.

Mä rupesin plaraamhan ja aivan oikeen! Siäl’ on näin:

»Huu-haamu, esiintyy etupäässä yhdyssanassa huunpurema =

mustelma ihossa, joka syntyy itsestään; semmoisen kerrotaan
tulevan näkyviin läheisen sukulaisen kuoltua. Niinkuin tästä voi
päättää, merkitsee huu vainajan henkeä, joka kansanuskon mukaan
kävi jälkeenjääneiden sukulaisten luona ja jonka hampaan jäljet
olivat huun puremia».

— Siinä ny näit! Luulet täs olevas niin viisas, mutta siinäs s’näit!
Ähäh, joko uskot huunpuremhan? Sano ny sä mikä se huu on? —
riamuutti frouva.

Mitäs siihen sanoo?

Ei mulla ollu mitään mukisemista.

Frouva meni köökkihi Hiltaa lohruttamhan ja pyyti anteeksi.

Täs rupiaa ihmine tulhon jo taikauskooseksi.

Siit’on ny jo vähä toista viikkua sitte, ku tämä tapahtuu. — Ja ne

huun puremat katos Hiltan käsivarsista parin päivän perästä.
 Eileen illalla m’olin taas klupilla pookeria pelaamas ja tulin tuas
yhrentoista aikhan kotia.

Ja kyllä mä säikährin, jotta aiva mä vapajin kun käännyyn portista

pihalle.

Mä näin oikee omin silmin kun huu oli Hiltan kimpus ja puri jotta
rotaji ympärinsä.

Sill’oli harmaa sinelli yllä ja mä luulen jotta s’oli Seittemännestä

Erillisestä Konekiväärikomppaniasta.
KARJANÄYTTELYSSÄ.

— Herran jestas, tuossa härkä, suuret sarvet, turpa märkä,

heiluu häntä. Piika vähäläntä vieres seisoo hymyhuulin.
Konsulentti tutkein härkää sivusilmin vilkuu piikaa — —
Kenokaula kukko äkkää miehen meiningit ja — —
kukkukiikaa!

Tuolla oris, pulska musta, hirnuin huutaa huojennusta.

Kaikki naiset kirkuvaiset hädän eestä pakoon pyrkii. —
»Katso kinttus! Päälle karkaa!» — narraa miehet Mutkan-
Riikaa. Kenokaula kukko äkkää miesten meiningit ja — —
kukkukiikaa!

Nuori neiti lehmää tutki. — »Missä sill’ on maitoputki?» —

kysyi kerran. Jonkun verran hölmistyy, kun hoksaa — —
Tarkkaa kauan paikkaa kummaa, kunnes virkkaa:
»Nänninpäit’ on liikaa!» Kenokaula kukko kuulee neidin
meiningit ja — — kukkukiikaa!
 *** END OF THE PROJECT GUTENBERG EBOOK
LAAKERINLEHTIÄ JA LIPSTIKKUJA: ETELÄPOHJALAISIA
MURREJUTTUJA ***

Updated editions will replace the previous one—the old editions will
be renamed.

Creating the works from print editions not protected by U.S.

copyright law means that no one owns a United States copyright in
these works, so the Foundation (and you!) can copy and distribute it
in the United States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part of
this license, apply to copying and distributing Project Gutenberg™
electronic works to protect the PROJECT GUTENBERG™ concept
and trademark. Project Gutenberg is a registered trademark, and
may not be used if you charge for an eBook, except by following the
terms of the trademark license, including paying royalties for use of
the Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is very
easy. You may use this eBook for nearly any purpose such as
creation of derivative works, reports, performances and research.
Project Gutenberg eBooks may be modified and printed and given
away—you may do practically ANYTHING in the United States with
eBooks not protected by U.S. copyright law. Redistribution is subject
to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE
 PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free

distribution of electronic works, by using or distributing this work (or
any other work associated in any way with the phrase “Project
Gutenberg”), you agree to comply with all the terms of the Full
Project Gutenberg™ License available with this file or online at
www.gutenberg.org/license.

Section 1. General Terms of Use and

Redistributing Project Gutenberg™
electronic works
1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand, agree
to and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg™ electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg™ electronic work and you do not agree to be
bound by the terms of this agreement, you may obtain a refund from
the person or entity to whom you paid the fee as set forth in
paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be

used on or associated in any way with an electronic work by people
who agree to be bound by the terms of this agreement. There are a
few things that you can do with most Project Gutenberg™ electronic
works even without complying with the full terms of this agreement.
See paragraph 1.C below. There are a lot of things you can do with
Project Gutenberg™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project
Gutenberg™ electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the
collection of Project Gutenberg™ electronic works. Nearly all the
individual works in the collection are in the public domain in the
United States. If an individual work is unprotected by copyright law in
the United States and you are located in the United States, we do
not claim a right to prevent you from copying, distributing,
performing, displaying or creating derivative works based on the
work as long as all references to Project Gutenberg are removed. Of
course, we hope that you will support the Project Gutenberg™
mission of promoting free access to electronic works by freely
sharing Project Gutenberg™ works in compliance with the terms of
this agreement for keeping the Project Gutenberg™ name
associated with the work. You can easily comply with the terms of
this agreement by keeping this work in the same format with its
attached full Project Gutenberg™ License when you share it without
charge with others.

1.D. The copyright laws of the place where you are located also
govern what you can do with this work. Copyright laws in most
countries are in a constant state of change. If you are outside the
United States, check the laws of your country in addition to the terms
of this agreement before downloading, copying, displaying,
performing, distributing or creating derivative works based on this
work or any other Project Gutenberg™ work. The Foundation makes
no representations concerning the copyright status of any work in
any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other

immediate access to, the full Project Gutenberg™ License must
appear prominently whenever any copy of a Project Gutenberg™
work (any work on which the phrase “Project Gutenberg” appears, or
with which the phrase “Project Gutenberg” is associated) is
accessed, displayed, performed, viewed, copied or distributed:
 This eBook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
included with this eBook or online at www.gutenberg.org. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived

from texts not protected by U.S. copyright law (does not contain a
notice indicating that it is posted with permission of the copyright
holder), the work can be copied and distributed to anyone in the
United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must
comply either with the requirements of paragraphs 1.E.1 through
1.E.7 or obtain permission for the use of the work and the Project
Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted

with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg™ License for all works posted
with the permission of the copyright holder found at the beginning of
this work.

1.E.4. Do not unlink or detach or remove the full Project

Gutenberg™ License terms from this work, or any files containing a
part of this work or any other work associated with Project
Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this

electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg™ License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form,
including any word processing or hypertext form. However, if you
provide access to or distribute copies of a Project Gutenberg™ work
in a format other than “Plain Vanilla ASCII” or other format used in
the official version posted on the official Project Gutenberg™ website
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original “Plain
Vanilla ASCII” or other form. Any alternate format must include the
full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,

performing, copying or distributing any Project Gutenberg™ works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing

access to or distributing Project Gutenberg™ electronic works
provided that:

• You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg™ works calculated using the
method you already use to calculate your applicable taxes. The
fee is owed to the owner of the Project Gutenberg™ trademark,
but he has agreed to donate royalties under this paragraph to
the Project Gutenberg Literary Archive Foundation. Royalty
payments must be paid within 60 days following each date on
which you prepare (or are legally required to prepare) your
periodic tax returns. Royalty payments should be clearly marked
as such and sent to the Project Gutenberg Literary Archive
Foundation at the address specified in Section 4, “Information
about donations to the Project Gutenberg Literary Archive
Foundation.”

• You provide a full refund of any money paid by a user who

notifies you in writing (or by e-mail) within 30 days of receipt that
s/he does not agree to the terms of the full Project Gutenberg™
 License. You must require such a user to return or destroy all
copies of the works possessed in a physical medium and
discontinue all use of and all access to other copies of Project
Gutenberg™ works.

• You provide, in accordance with paragraph 1.F.3, a full refund of

any money paid for a work or a replacement copy, if a defect in
the electronic work is discovered and reported to you within 90
days of receipt of the work.

• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™

electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend

considerable effort to identify, do copyright research on, transcribe
and proofread works not protected by U.S. copyright law in creating
the Project Gutenberg™ collection. Despite these efforts, Project
Gutenberg™ electronic works, and the medium on which they may
be stored, may contain “Defects,” such as, but not limited to,
incomplete, inaccurate or corrupt data, transcription errors, a
copyright or other intellectual property infringement, a defective or
damaged disk or other medium, a computer virus, or computer
codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except

for the “Right of Replacement or Refund” described in paragraph
1.F.3, the Project Gutenberg Literary Archive Foundation, the owner
of the Project Gutenberg™ trademark, and any other party
distributing a Project Gutenberg™ electronic work under this
agreement, disclaim all liability to you for damages, costs and
expenses, including legal fees. YOU AGREE THAT YOU HAVE NO
REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF
WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE
FOUNDATION, THE TRADEMARK OWNER, AND ANY
DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE
TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL,
PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE
NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you

discover a defect in this electronic work within 90 days of receiving it,
you can receive a refund of the money (if any) you paid for it by
sending a written explanation to the person you received the work
from. If you received the work on a physical medium, you must
return the medium with your written explanation. The person or entity
that provided you with the defective work may elect to provide a
replacement copy in lieu of a refund. If you received the work
electronically, the person or entity providing it to you may choose to
give you a second opportunity to receive the work electronically in
lieu of a refund. If the second copy is also defective, you may
demand a refund in writing without further opportunities to fix the
problem.

1.F.4. Except for the limited right of replacement or refund set forth in
paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED,
INCLUDING BUT NOT LIMITED TO WARRANTIES OF
MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied

warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted
by the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the

Foundation, the trademark owner, any agent or employee of the
Foundation, anyone providing copies of Project Gutenberg™
electronic works in accordance with this agreement, and any
volunteers associated with the production, promotion and distribution
of Project Gutenberg™ electronic works, harmless from all liability,
costs and expenses, including legal fees, that arise directly or
indirectly from any of the following which you do or cause to occur:
(a) distribution of this or any Project Gutenberg™ work, (b)
alteration, modification, or additions or deletions to any Project
Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of

Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers.
It exists because of the efforts of hundreds of volunteers and
donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the

assistance they need are critical to reaching Project Gutenberg™’s
goals and ensuring that the Project Gutenberg™ collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a
secure and permanent future for Project Gutenberg™ and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help,
see Sections 3 and 4 and the Foundation information page at
www.gutenberg.org.
 Section 3. Information about the Project
Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation’s EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West,

Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
to date contact information can be found at the Foundation’s website
and official page at www.gutenberg.org/contact

Section 4. Information about Donations to

the Project Gutenberg Literary Archive
Foundation
Project Gutenberg™ depends upon and cannot survive without
widespread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can
be freely distributed in machine-readable form accessible by the
widest array of equipment including outdated equipment. Many small
donations ($1 to $5,000) are particularly important to maintaining tax
exempt status with the IRS.

The Foundation is committed to complying with the laws regulating

charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and
keep up with these requirements. We do not solicit donations in
locations where we have not received written confirmation of
compliance. To SEND DONATIONS or determine the status of
compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where

we have not met the solicitation requirements, we know of no
prohibition against accepting unsolicited donations from donors in
such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make

any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation
methods and addresses. Donations are accepted in a number of
other ways including checks, online payments and credit card
donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project

Gutenberg™ electronic works
Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose network of
volunteer support.

Project Gutenberg™ eBooks are often created from several printed

editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.

Most people start at our website which has the main PG search
facility: www.gutenberg.org.

This website includes information about Project Gutenberg™,

including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how
to subscribe to our email newsletter to hear about new eBooks.