Although little known, the Candle American Massage is a technique that has gained many fans in Brazil. The smooth sensation of physical comfort, reduction of stress, reduction of fatigue and pain are achieved through a massage done by landslides and deep surface, using paraffin and providing a specific relaxing effect on the body.

After the success of Chinese pindas – worked with a massage therapy “trouxinhas” of fabric that suggests a deep relaxation, the Olympia Spa – Day Spa and Wellness, which offers the best care for beauty, health and welfare, by artist Claudia Fontenele, brings more news in relaxation, which promises many benefits to health.

The massage is done from the candles, with a special type of melted paraffin cosmetics and essential oils that are heated until they come in liquid form. Then, products are watered by the body with massage maneuvers with slip and compressions, which help in absorption. In this treatment, the paraffin used in cosmetics is always a temperature around 38 to 39 ° C, which makes the technique pleasant and enjoyable in any season.

The feeling of a hot wire of melted candle, drain the body is quite nice. “I felt a deep relaxation and a slight warming in the body. The exercises are more intense massage delicious, “says Thais Sayuri, who tried and adopted Massage Candle.

Among other benefits, it is the growth and nutrition of the skin, reactivation of the blood flow through the hypodermic effect, improvement of nutrition of the muscle tissue and increase the contractile capacity, the faster elimination of toxins.

Each section of the treatment has an average length of time and anyone can perform this treatment, which has no contraindications.

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Don’t let dialogue and punctuation marks outsmart you in creative fiction writing.

Dialogue between characters is one great way to engage in character development. Usage of quotes can become very complicated in your characters’ dialogue, but you don’t have to struggle with how to use quotes along with commas, periods, capitalization, the em dash, the ellipses, and other marks. Use the templates below for models on how to use quotation marks, and you will be a whiz at this in no time.

Your word processing program will probably use smart quotes. The quote marks curl toward the words. You may set your word processor to use straight quotes if you prefer. Be sure you are consistent and always use one or the other throughout your entire writing.

1. Using the ellipses to show the thought trails off, when the sentence is incomplete:

End with a blank, then the three dots, the quote, a blank.

“I, I, I . . .” he stuttered.

A non-quote new sentence follows: Capitalize the new sentence.

“Still she’s reckless, and that temper of hers . . .” Not to mention the prickly pride.

A new paragraph follows:

“I don’t know what to say, Aramis. They’re your best friends, not my best friends. I’ve no right to tell them. But maybe . . .”

2. Using the ellipses within quotes when the sentence is complete:

A new sentence, within the same quote follows. Note there is a period before the three dots.

“He has my father’s signet ring, and Papa never let that out of his possession. . . . They murdered my father in Belgium.”

The quote sentence is complete and is followed by a new non-quote sentence:

“And Uncle Porthos even took me on his horse. . . .” Suddenly, the boy stopped as if realizing he had a crowd.

3. Quote starts the sentence; the “he said” is in the middle, and then the quote continues:

Don’t capitalize the continued sentence.

“My father’s out of the country,” she began in a measured tone, “and a lone woman could hardly welcome a group of strange men to her home.”

4. Quote starts the sentence, ends with a comma and quote and blank and the “he said.”:

Do not capitalize the word after the closing quote unless it is a proper name or the word “I.”

“He will see you now,” the servant said, bowing as Athos thanked him.

Quote ends with a question mark and is followed by the “he said:”

Don’t capitalize the “he said” part.

“Do we have an agreement?” the unofficial leader of the group asked.

5. Quote starts in the middle of the sentence:

Put a comma after the leading “he said.” Have one blank, then the quotation mark, then the first word of the quote capitalized.

He shrugged his shoulders and said, “It was just a possible explanation. I know it’s not a very good one.”

6. Use the em dash to show a pause in the quote that is all one sentence:

Use no spaces before or after the dash.

“You know what I really wish? I really wish you could find it in your heart to trust me–to not always play the gentleman. However, it’d be more than enough if you just decided to be your real self.”

Use the em dash to show one sentence trails off and then a new sentence begins:

Capitalize the new sentence. Use one space after the closing quote.

“Yes, but–” She silenced him with a kiss.

“I think so, but–On second thought, it’s not true,” he said.

Kat Jaske ©2006 All rights reserved

The reviewer from ForeWord Reviews.com in her five-star review of For Honor by Kat Jaske, stated that Jaske was highly skilled in character development. Kat Jaske is an English and French teacher in Las Vegas, where her high school selected her first novel, For Honor, as the featured book for the 2006 reading incentive program. Jaske’s second book in the series, Gambit For Love of a Queen, and the third swashbuckling, adventure novel, Righting Time, also feature the musketeers, sword fighting, and the lady musketeer and spy, Laurel. See the author web site http://www.forhonor.com for more information. Article Source: http://EzineArticles.com/?expert=Kat_Jaske

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Learning to play piano is not as hard or as difficult as it is made out to be. It is possible to have fun and still learn piano though some people feel daunted seeing the number of keys on the instrument. In the beginning, it looks like one is lost in all the black and white keys and the notes and the chords, but if you have patience and stay focused, you will find that those who claim to teach easy piano lessons are right. If you can sit comfortably on the seat and reach out to all the keys without having to make extra effort, you can easily learn to play piano.

It is true that there are many theories and methods that make people confused when they begin to learn piano, you can still learn how to play piano on your own by playing to your ears rather than trying to figure out what is there on the printed piece of paper containing all the notes and chords. But as is the case with any other task in life, if you take it step by step instead of rushing things up, the task becomes easy and fun to do as it gets broken into little milestones which bring satisfaction when achieved. If you can get yourself easy piano lessons that guide you step by step about the notes and the chords, it will become a cakewalk for you. However, you must remember that you will not become a piano player overnight; so have some patience and stay focused until you become one.

Any good piano lesson will start with the very basics like the parts of the piano and how it works. It is fundamental and you must not skip it if you want to play piano flawlessly because it is the foundation of what you will learn eventually. The piano is what you are hoping to master and it is better if you learn everything about it. There are many good courses on the internet that teach you to play easy piano and you really feel comfortable as the pace of the programs has been designed keeping mind beginners like you. These courses tell you how to remain comfortable when playing piano, so that learning becomes fun and not a burden. The main advantage with these online courses is that you can choose to learn when you are free and not the other way round, which is what is troublesome for most people.

Johnny Pedersen is a multi-platinum producer. Come visit his latest website about Electric Pianos which also gives a great review of the new Korg SP 170 digital piano. Article Source: http://EzineArticles.com/?expert=Johnny_Pedersen

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If you’re a beginner guitar player looking for easy acoustic guitar songs, then this article will show you what kind of songs to look out for, and also give you plenty of examples of songs which are great for beginning guitarists to play. By the time you’ve finished reading this article, you will know plenty of easy songs you can learn to play on your guitar.

The first thing to do is research some of the songs of your favorite guitarists. It’s much easier to learn something you want to play, because it’s easier to stay motivated while you’re learning.

Some examples of bands, groups, and musicians who have many easy to play acoustic guitar songs are:

• Wonderwall by Oasis (and several other songs by Oasis).
• Coldplay (some of their older songs, and a few new ones like Viva La Vida).
• The Beatles (almost anything by the Beatles is easy to learn, although some songs are better for an intermediate player).
• Bob Dylan (popular songs like Knocking on Heavens Door and Mr Tambourine Man).
• Green Day (Time of Your Life – Good Riddance is a good one to start with).

You can also try to learn a particular style of acoustic guitar playing. Some of the easier to play forms of music are acoustic rock, blues and country. It’s much easier to learn these styles compared to advanced fingerstyle techniques.

If any of these artists of styles of music appeal to you as a beginning guitarist, then you should now have plenty of material to work with.

But if these songs and styles don’t suit you, then its better to pick some of your favorite musicians music and find their simpler songs.

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Free Sheet Music – Piano

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Different types of jokes have different structure. The stand-up comic tells jokes that are brief and to the point. Often they only have two or three lines, commonly called the set-up and the punch line. The set up is what makes the audience think the way you want them to think, while the punch line provides the twist or surprise ending, contrasting to what was used in the set-up.

These jokes work because they deliberately change the meaning of the set-up to be something quite different than what was expected. The set-up should take something like 20 or 30 seconds to deliver, while the punch line should be even less. Often the punch line can have one major word in it upon which the whole sentence hangs, so in this case it should come last.

The elements of the joke must be told in their proper order for it to be funny. In longer jokes, there can be an introduction to set the scene, thus: – Three men walked into a bar… A man goes to the doctor… etc.

The set-up then follows this, with all the facts done in logical order, e.g.:

1. A man goes to a doctor. He says,” (states the problem).

2. The doctor says, ” (states the answer to the problem).

3. The man queries, ‘(Will this help…?).”

4. The doctor answers, ‘(The punch line).

The introduction is important in its role of creating trust with the audience. It usually starts off by saying something that is quite normal. It could happen. Three men often do walk into a bar; a man goes to the doctor – normal stuff. It should be fairly short because you don’t want the audience to forget what you were saying by the time you get to the punch line.

The set up should expand the introduction and tell what happened next. This can be a bit longer, but not too long. Being brief is good; don’t waffle on about unrelated things. So if we have the man going to the doctor we want to know why right away. The color of his shirt doesn’t matter.

The punch line is, of course, the most important part of the joke, but on its own it wouldn’t be much. It’s only when you work the two together that the audience will laugh – and actually they are laughing at themselves in a way because it was what they believed in the set-up stage that tricked them into laughing at the punch line.

A good joke can be told, but comedians often act jokes out, so watch for this in funny shows. Often they are simply setting the stage for a joke. Once you know what to watch for, you’ll recognize the intro, set-up and punch line – all acted out.

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Of we are only seen as campy jokes, how r we going to be taken seriously? Not all og us want to be segregated to West Hollywood or other gay areas. Mainstream sees us as drag queens and tra**ies . Why would we encourage that by submitting to … Whether or not Kate Bornstein identifies as a she or a ze, it’s not acceptable to put quotation marks around the pronoun one uses to refer to Bornstein. The largest anti-defamation organization for the lesbian, gay, bisexual, …

Jokes with quotation marks

Jokes with quotation marks do you know any jokes with quotation marks? A horse walks into a bar, and the bartender says, Hey stranger. Why the long [quote user= Grammar Geek ]A …

Words Too Hot To Mention! – NPR (blog)

Words Too Hot To Mention! NPR (blog) We generally put quotation marks around a word to indicate that we aren’t using the word, but mentioning it, that is, talking about it. …

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we are only seen as campy jokes, how r we going to be taken seriously? Not all og us want to be segregated to West Hollywood or other gay areas. Mainstream sees us as drag queens and tra**ies . Why would we ….. putting quotation marks around pronouns for Kate Bornstein and in labeling me as a transgenderist , Love has engaged in behavior that she says she doesn’t do — …

Words Too Hot To Mention! – NPR News

Putting quotation marks around a word is like writing the word on the blackboard … An injured student reported him to the principal. This reminds me of a joke I knew as a kid and that my boys still won’t tire of telling me: two boys, Pete and Repete …

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You can be free from so many musical rules while playing improvisation.

I have started learning piano at the age of 17. Do you remember how you were when you were seventeen? You guessed right! I wanted to be popular.

Being the late starter, I have developed many shortcuts to train myself and have my audiences recognized me as a good piano player.

I selected jazz piano as my target. I liked jazz very much, of course.

Other than that, I was hypnotized with the improvisation. I thought I could be free from all the musical rules once I claimed that I was playing improvisation. Of course there is chord progression and rhythm to keep. You cannot get away from the basic configuration of music. But one thing is sure that nobody can claim that you are not following the score, or you are making mistakes in playing melody line.

So, the more I learn jazz, the more I feel free. I am 66 years old and enjoy playing jazz because of this reason. So I have decided to start a program to tell my joyful experience of jazz piano.

To improvise a melody line, the first thing is that you have to recognize its base scale. You cannot be out of scale of the key. If the key of your favorite melody were C major, you could not use other notes than the notes that are included in C major scale, basically.

Well the truth of the matter is, since the music is of human feeling, you can use any notes at all. But if you use a note that is not in the C major scale, you have to resolve to a note that is in the scale. This is where you need to learn about harmony.

Is it complicated? No, it is not. The theory comes after the reality. The theory is set so that you can apply it universally. Besides, you can make money by teaching it. Right?

In constructing musical theory, the base lies if you feel comfortable with listening to the stream of notes. There is thrilling development does exist. The development has to be resolved. In classical music, “variation” is an example of improvisation of main theme. Yes, you now know that there has been improvisation in classical music.

Do you listen to Miles Davis? When Miles played with Monk, Monk did not play backing chord. No, I cannot recall the title of it. Miles did not want Monk to play, according to its discography. Because he had sensed that his chord progression had not matched with that of Mr. Monk.

Yes, both do what they want to do in the session. Are they not arrogant? But you know that they are entitled to do so.

I am a jazz freak and live Yokohama, Japan. I love Bill Evans, John Lewis, Oscar Peterson. I enjoyed listening to them all of my life of 66 years. Don’t stop learning something new because of your age There are ways to get around it with your wisdom and experiences. Come visit my site [http://howtoplayjazzpianoonline.com] and get acquaint with “how to play jazz piano” online. Article Source: http://EzineArticles.com/?expert=Yujine_Yinoway

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Price Price Price. The Canon Digital Rebel XTi can be had for around $600 today including a lens kit. That’s enough to make me sick, when I consider that I paid around $1000 for my first point and shoot digital about six years ago. This is a great price to enter into the world of SLR photography.

There is a ton of third party lenses that can be used on the Rebel XTi. The Sigma 70-300 APO DG Macro is just one good example. You may even be able to buy the Sigma used, if you look around a bit. You can buy the Digital Rebel without the kit lens from Canon. Which is great, as it gives you the option to shop around for deals on different lenses like the Sigma model mentioned above.

Even though the XTi is the bottom of the Canon SLR model line, you can still use most of the Canon lenses manufactured. When and if you decide to move up to a new SLR, those lenses can move up with you.

This is a very popular camera, and has been since it was released. This gives a new purchaser plenty of advantages including lots of online forums discussing pros, cons, and tips. Plus, Canon has had plenty of time to fix any problems with the camera. There are also lots of used Rebel XTi’s for sale now, as their owners move up to more sophisticated machines.

At 10.1 mp, the Rebel provides plenty of resolution to allow for more cropping. Plenty more resolution than some of it’s competitors like the Nikon D40 6.1MP model.

The Rebel is a good entry level SLR for doing sports photography. Especially, if you use the money saved on the camera body for some good lenses. Something like the 135mm f2 L for indoor shooting, and the Sigma 100-300 f4 for outdoor shots.

The Canon Xti is a much faster shooter, and better in low light conditions than any point and shoot camera.

Better cameras than the Rebel are around, but they’re very hard to find. The Canon Rebel has been a great seller for number of years, and with good reason. Article Source: http://EzineArticles.com/?expert=Chris_Campbell

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Everyone deals with a break up in a different way but most people have a really difficult time getting over it. The pain associated with a broken heart is one of the hardest pains to mend and you are having a really hard time with it. You don’t know what to do in order to get rid of the pain and you are looking for something to help you to deal with the pain.

Men often have the hardest time dealing with a break up because they don’t have friends to turn to so they can unleash some of that emotional build up. They keep it inside and this is how they develop so much emotional turmoil. You know how his feels because you are experiencing it right now but you don’t have to feel so alone. There are things that you can do to mend that broken heart and fast.

If you are trying to get over a break up, then you need some help. You need some advice for men on how to deal with a break up and to move on with your life. You are done feeling the hurt and the pain and you are ready to get a new lease and start on life.

One of the best things to do when trying to get over an ex is to stop talking to them. This is easily the number one mistake that men make. Even though you temporarily do feel some comfort from talking with your ex, it hurts even worse when the conversation ends and you realize again that she isn’t in your life anymore. To save yourself from this pain, it is best to not talk to her at all. You need this time to yourself. You need to give yourself a chance to stop thinking about her and to start forgetting about her. If you don’t, then you’ll never start the mending process.

Another way to deal with a break up for men is to keep both your body and mind busy. Even though going through a break up makes you feel sick and makes you feel pain, sitting alone and moping to yourself won’t make you feel any better. You need to get out there and to enjoy life again. You need to do some things for yourself and to get some “me time”. It’s time that you did something for yourself. Now, you have all of the time in the world to work on making yourself happy again and to happy with whom you are. Use this time wisely and you’ll start to forget about her and fast.

Even though going through a break up can be really difficult, it isn’t impossible. Now is the time that you used some of these tips to help you to forget about your ex.

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Now and then, people ask me for advice on where to begin with the daunting world of classical music recordings. They’ve heard bits here and there, they’re curious, they imagine they’d probably enjoy it once they got involved, but they wouldn’t know where to look if they walked into — oops, I mean logged onto eMusic.com and started poking around. My strategy is always to offer a handful of suggestions, in as wide a variety as possible. “Try these,” I say. “See what grabs you, and we’ll work from there.”

That’s the idea behind this Dozen. Here are 12 recordings selected to entice people who have had little exposure to classical music, but who know they want more. I’ve carefully contrived the list to cover a wide range of colors and styles, instruments and moods, shapes and sizes. Some pieces are light, some heavy; some charming, some imposing; some dramatic, meditative, amorous, tragic, lofty, goofy. All in all, the selections encompass 1,200 years of music history — and they’ve all been chosen to make a good first impression and whet your appetite. They’re “gateway” works, if you will. I’d be surprised if there were anyone who couldn’t find something on this list that pleasured and intrigued them. Think of it as a sampler, a tapas menu: if you don’t care for the stuffed olives/Renaissance Mass, try the garlic shrimp/20th-century string quartet.

Are these the twelve greatest works ever? No, though some of them could justly claim a place on such a list. Most of these are works I actually have suggested to people, and which have gotten a favorable response. Others I have seen appeal to newbies in ways I never expected. Others are just a few personal favorites which I proselytize for whenever possible.

Gregorian Chant For Easter

Artist: Capella Antiqua, Munich

Release Date: 2006

The recorded history of “classical” music in the Western “art” tradition (so many of these terms are so problematic) begins in the medieval period with music composed for church use — settings of sacred texts in Latin for choirs singing in unison, just one note at a time. The serene meditativeness of Gregorian chant (named for liturgical reformer Pope Gregory, 540-604, who launched the practice according to legend) has made it popular in recent years, usable as a backdrop for anything from yoga to post-rave chilling. There are plenty of chant CDs out there, some with hipper packaging, but these performances by the male voices of Capella Antiqua, Munich, surrounded by a cathedral-like halo of reverb, are stately and gorgeous.

Ockeghem: Requiem

Artist: Ensemble Organum, Marcel Peres

Release Date: 1993

A friend of mine, also a musician, has played a number of classical pieces for his infant son, and reports that Allen seems to like the music of Johannes Ockeghem (c. 1410-1497) best. It could be the way this Renaissance composer weaves voices together to create a sort of ear-blanket. Or perhaps this music’s low gentle murmuring reminds him of sounds in utero. Either way, the Ensemble Organum’s performance of this Requiem (a Mass to honor the dead) is spacious and calm, but also possesses a sort of authoritative, virile resonance.

Bach: Six Concertos for the Margrave of Brandenburg

Artist: Trevor Pinnock

Release Date: 2008

Incomparably joyous and sparkling, these six pieces can claim to be both the greatest of baroque instrumental works and, with the possible exception of Vivaldi’s “Four Seasons” concertos, the most popular. Composers in the baroque era (roughly 1600-1750) prioritized a musical skill called counterpoint, the practice of combining independent instrumental or vocal lines into a complex whole. Johann Sebastian Bach had no rivals (and surely never will) in this art, giving every section of the orchestra something rewarding — and fun — to do. He built structures of grandeur and irresistible energy. Each of these concertos are scored for a different combination; if you’d like a taste, try the first movement of the Concerto no. 2, in which four bright-toned soloists (violin, flute, oboe and trumpet) dance festively around the accompanying string orchestra, or the fleet finale of the Concerto no. 3, a whirlwind showpiece for strings alone.

MOZART: Overtures

Artist: Wolfgang Amadeus Mozart

After Bach and his contemporaries had brought Baroque counterpoint to its peak, composers of the next generation reacted by lightening the texture of their music. The melody line dominated, and the middle and bass instruments were entrusted with harmonic and rhythmic accompaniment rather than with independent lines of their own. This new style, though, was no less bubbling and energetic — see the overtures (instrumental preludes) which Mozart (1756-91) wrote for his operas. Brilliant attention-getters, arresting but never too pompous, full of catchy tunes, cheeky wind solos and stirring trumpet-and drum passages, these overtures are played with great verve by Capella Istropolitana.

CHOPIN: Etudes Opp. 10 and 25

Artist: Freddy Kempf

Release Date: 2004

Frederic Chopin’s music, full of innovations in nuances of harmony and delicate coloristic effects, pushed the boundaries of what a piano could do. In these two sets of etudes (completed in 1832 and 1836), he also pushed piano technique, making unprecedented demands of virtuosity in works that are still among the most richly dazzling ever written. Not all the pieces are finger-tanglers, though; some are studies in sensitive touch and singing melody. Though pianist Freddy Kempf’s technique is precise, these etudes are for him poetry first; in op. 10 no. 3 in E or op. 25 no. 1 in A-flat, he phrases the surface melody with the expressivity a great vocalist might bring to it.

Pearl Fishers and Other Famous Operatic Duets

Artist: Various Artists

It occurred to me that an album of duets might make an even better introduction to opera than one of solo arias — even though those big diva/divo moments are what the general public thinks of when they hear the term opera. Duets, of course, display the character interplay that the dramatic side of opera is all about: love, conflict, friendship — or betrayal, as in the searing finale to Act II of Verdi’s Otello, when Iago falsely swears loyalty to the title character. Two rapturous and justly popular duets recorded here come from French operas, the rest from Italian. Complete recordings of many of these operas are also available on eMusic, so if these excerpts whet your appetite, you can move on to explore the entire work.

Dvorak / Haydn / Shostakovich: String Quartets

Artist: Quartetto Cassoviae

Release Date: 2000

Contained on this disc is a mini-history of the string quartet itself: an elegant, buoyant piece (1799) by Franz Josef Haydn, a pioneer of the form; a fragrantly tuneful example (1893) by Antonin Dvorak, written under the influence of American folksong; and a bitter, semi-autobiographical work (1960) by Dmitri Shostakovich, reflective of his state of mind during a life lived under Soviet oppression. The Quartetto Cassoviae’s performance of this last quartet is perhaps the disc’s most impressive: it’s taut, wiry, grippingly expressive and even a little nightmarish.

Alexander Borodin: Symphony No.2 – Conducted by Carlos Kleiber & Erich Kleiber

Artist: Kleiber

Release Date: 2003

I chose this symphony because I clearly remember my sister, eight or nine at the time, dragged to one of my school orchestra concerts and, at its conclusion, telling me she liked this piece best. The brusque gesture that launches Alexander Borodin’s Second Symphony (1876) is definitely one of the more arresting openings: glowering, passionate and Russian, Russian, Russian. Compare it to the sinuous oboe melody that comes later, and you hear the two sides of Borodin’s musical personality: barbaric vs. sensuous, both tinged with the exotic folk colors of ancient Asian tribes. This disc is also the only one I know that offers father-son performances of the same work, by Erich (1890-1956) and Carlos Kleiber (1930-2004).

STRAVINSKY: 125th Anniversary Album – The Rite of Spring / Violin Concerto (Stravinsky, Vol. 8)

Artist: Jennifer Frautschi

When Igor Stravinsky got a commission to write music for a ballet depicting ancient fertility rituals, did he intend from the start to revolutionize musical history? He filled his colorful score (completed in 1913) with pounding, asymmetrical rhythms and harsh dissonances — unprecedented elements at the time; he’s one of the many composers in the first few decades of the 20th century who tossed a bomb into the middle of Romantic-era assumptions about what music could be. This earthy, viscerally intense showpiece still startles audiences — especially those who see classical music as something stuffy and genteel. Think of it as heavy metal classical. Robert Craft, a longtime colleague of the composer, conducts a particularly gutsy and un-pretty performance.

Strauss: Symphonia Domestica / Eine Alpensinfonie / Oboe Concerto / Duett-Concertino

Artist: Royal Liverpool Philharmonic Orchestra

Release Date: 2006

This disc shows the two sides of composer Richard Strauss. In the Symphonia domestica (1903) and Eine Alpensinfonie (An Alpine Symphony, 1915), he capped the tradition of German romanticism with two of the grandest and most opulent orchestral works ever; in his two nostalgic concertos (one for oboe from 1945, the other for clarinet and bassoon from 1947), he revived the spirit of Mozart in slender, tuneful, but autumnal pieces for a (much) smaller orchestra. Oboe soloist Jonathan Small, in particular, plays with ravishing fluency, and conductor Gerard Schwarz is especially adept in this soaring, sweeping music.

Daughters Of The Lonsome Isle

Artist: Margaret Leng Tan

Release Date: 1994

Just by inserting screws, rubber erasers and other tidbits between a piano’s strings, John Cage (1912-1992) was able to turn the instrument into a miniature percussion orchestra. This was just one of the avant gardist’s many innovations. On this disc, keyboardist Margaret Leng Tan, the world’s foremost toy piano virtuoso, pays homage to Cage’s experiments, his rhythmic vitality and the Zen-inspired spirit that led him to ask profound conceptual questions about music. But even as Cage challenged traditional notions of music, it’s not hard to find great beauty, wit, depth and spiritual gentleness in his work. It’s scarcely possible, for example, not to fall in love with Cage’s pulsing, gnomic Bacchanale or the elegiac In the Name of the Holocaust, which proves that the instrument he called a “prepared piano” was just as capable of stark intensity.

Reich: Different Trains

Artist: The Duke Quartet, Andrew Russo & Marc Mellits

As a child in the early ’40s, composer Steve Reich used to travel across the U.S. by train each year. In thinking about the very “different trains” he could have been riding as a Jew had he grown up in Europe, Reich was inspired to compose this powerful work for string quartet and tape. Snippets of recorded interviews with actual railroad employees are woven among the urgently churning string parts, with their licks echoing the speakers’ vocal inflections. Also included here is Reich’s 1967 Piano Phase, which was a groundbreaking early work that used a compositional technique that caught his imagination: complex rhythmic effects achieved by subtle shifts in temporal coordination between musicians, creating a trance-like rippling effect.

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For many children, math is neither fun nor easy. Many children find it difficult and uninteresting and unfortunately this attitude can lead to less chance of success and further distress. But changing a negative attitude towards math into a positive one can be as easy as making math more fun.

One of the best ways to do this is with the use of math games. Fun math games can be used in all areas of math and they are a great way introduce math concepts and to practice basic math skills.

If you choose the right math games they won’t be complex to play or to learn, or time consuming. There are many simple, quick math games that can be played with little or no equipment.

Many math games can easily be adapted for the classroom or for use at home. Some of these games can be used to teach or practice different math concepts and can be used with different ability levels. The following is an example of a fun math game that can be adapted for different skills and levels.

This math game is very simple to play but requires skills in different areas. Students must have a concept of number order and place value to give the answer higher or lower and to provide guesses that are appropriate for the clues given.

Higher or Lower

To begin select the upper and lower number limits, e.g. between 10 and 100.

One player selects a number and records it on a piece of paper.

The other player/s guesses what they think the number might be. For each guess the first player tells if the chosen number is higher or lower. Play continues until the number is guessed.

Variations of Higher or Lower Math Game

This game can also be played in more advanced varieties to develop skills in ordering larger numbers, decimals or fractions. See the examples of more advanced games below.

- 3 digit number between 300 and 600 (e.g. 345)

- 4 digit number between 2000 and 4000 (e.g. 3027)

- number with 1 decimal place between 6 and 9 (e.g. 7.3)

- number with 2 decimal places between 4 and 5 (4.87)

- fraction with single digit numerator and denominator, between 0 and 1 (e.g. 4/5)

This math game can be played with two people so it is easy for a parent to challenge a child or it can be played by a whole class. In the classroom, the teacher can select the number and challenge students to guess it or a student can select a number between the given limits.

The game can be played with each guess being recorded and H or L written beside each guess. A more advanced version is to play orally which requires players to remember the previous guesses and answers.

So if you really want to make math fun for children, math games is the answer. The games don’t need to be complex and often you don’t need any special equipment.

Choose games that are simple to play and have simple rules but most importantly choose math games that are challenging and fun. For more fun with math why not try using a variety of games including math board games, card games and pencil and paper games.

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