News from Wombozo


























  1. Not so sure about 3. To me they are the actual Sator's men and not Tenet. Tenet was watching and rescued TP after with the cavalry. They are russians (They spoke russian "это не он -it's not him!" after pretending they were Ukrainians)

  2. True! So this supposes Tenet arrived to save TP off-screen after the seige sequence ends, which isn't hinted at at all. However, them speaking Russian is a good clue in that favour for sure !

  3. Can you be more specific? When you "forget", do you mean that you don't remember what the notes are supposed to be (and need to sight-read it again from scratch), or that you have a rough idea of what the notes should be (but you play with more mistakes than you'd like)?

  4. The second one. My hands mix everything up with new learnt things like fast arpeggios for instance..

  5. It's normal for pieces to get "rusty" if you haven't played them recently. You should be able to rehabilitate such pieces by practicing them again.

  6. Thank you for the advice. I was thinking that maybe I was learning the pieces wrong, like learning the passages not deeply, and only "put" in in my short muscle memory, and moving on to the next one.

  7. Low sanity can trigger ghosts to change their room, other ghosts can roam more. Certain ghosts have hidden powers, like teleporting to player locations or walking to players.

  8. Thanks for the reply. Is that possible that the ghost leaves his favourite room "forever"? It happenned that I had to move my entire stuff to another room, because I couldn't catch anything more in the first one (with high sanity!)

  9. Lower your sanity, the more the ghost can do, IE wander aimlessly, use powers to teleport to you like banshee/phantom, etc. So yes being on low sanity can make it more difficult, but it’s also completely RNG as to what the ghost does each given attempt at an action. If you’re having issues with ghost wandering to you and away from the crucifix, it’s best to stay in their room to try and spark hunts there instead of wandering around the house.

  10. It makes sense, I didn't know that it could wander that far ! I had a demon who was not supposed to tp on me, who started a hunt right next to me, yet so far from his room.

  11. I lift the pedal before the second Eflat (marked staccato) and play this as a true staccato, which couples nicely with the legato preceding it. It adds to the “heroic” style, hearkening to military marches and such.

  12. I absolutely agree ! To me this piece is definitely about the heroic rythm, and thus about this staccati without pedal, that's why I was so surprised to see it. But indeed now that I hear original interpretation, the pedal is pressed but it gives less chills.. 😊

  13. Ooh playing the same piece now. Press the pedal and do the staccato. It has as effect on how the sound is generated, and still sounds different than if you didnt do the staccato. Without the pedal the piece feels very fragmented to my ears. And these were actually Chopin’s own pedal markings.

  14. Awesome :) As I understand, the staccatos are thus kinda like accents when the pedal is on, right ? How about the legatos ? The Eb octave has to last longer to be "linked" with the next Ab chord ?

  15. For those who are facing the same "issue", I managed to get rid of these small gaps by an ugly hack : I added a pixel offset before these rounded characters with "${O-1}" command. If the text of the corresponding module is trimmed, then I added a space and Voila.

  16. I’ve never heard of such thing that we have to use an imperfective verb in this expression. Ты не даешь мне сказать, она не дает мне подумать, компьютер не дает мне запустить приложение - these are all legit and common sentences, and now that I’ve thought about it for a while it feels like perfective verbs should be more common in this expression than imperfective ones.

  17. But how in this case are we supposed to know which aspect should be used ? I mean "preventing from doing something" should always be focus on the action like "она не дает мне думать", no ?

  18. It's the same as picking the aspect outside of this construction. Она не даёт мне думать = she doesn't let me think (habitually and in general); must be a bad relationship. Она не даёт мне подумать = she doesn't let me commit the act of thinking (not necessarily just once, but every act is seen as complete, usually with a result). There must be some specific problem or decision that requires a bit of quiet thinking time, but "she" rushes the speaker with that decision or interrupts that time.

  19. How did you get the icons with your ls ?

  20. Absolutely ! I never use stack mode, only split and tabs, it's very confortable !

  21. Language exchange app (Tandem for instance). That what helped me the most : talking with native people whatever your level is :)

  22. Thanks for the clarification, but how come P ends up in the van with Sator's men (who tortured him) before the scene ? Any idea ? This group (4 people if I remember correctly) was here before the SWAT vehicles (containing fake and real SWAT). I mean they seem like infiltrating discretely Ukranian special forces. This scene is so confusing !

  23. If you see Inv-Sator's steps once he leaves with Kat, he knows it's not in the box when it is picked first in reverse as we see, then he knows it's not in the BMW after he checks it at the choke point, then he finally sees Inv-JDW in Saab and puts 2+2 together as he knows the box is empty already and that JDW had told him in the room that it's not in the Truck as they pulled off the heist

  24. I 've just rewatch it and paid extreme attention on this scene :

  25. By the one that sounds better; I'm serious. But this can kind of be explained:

  26. That's allright. But do I have to change MBR to GPT as well ? Or it's not really a problem ?

  27. Short adjectives have way more uses. In most cases they mean the same thing as the full form, but can behave differently in a sentence. Only with some adjectives there is a semantic difference, and the "small duration" is just one option for that difference (i.e. больной/болен, здоровый/здоров).

  28. Thank you so much, I'm going to spend some time on your answer ! :)

  29. 'Достаточно' is closer to 'enough' rather than 'a lot/lots'. 'Достаточно _(gen.pl for countable/gen.sg for uncountable) для' is like 'enough ______ to'

  30. I understood you perfectly, many thanks !

  31. словарного запаса*

  32. Зпасибо за ответ ! So it's not really about the words много и достаточно (they naturally demand genitive case), but rather about what's going next if I understood you correctly ?

  33. Oh duh I’m stupid. I forgot about the major fourth! Thank you!

  34. SocioStache meant a major IV chord, not the scale degree.

  35. In the first line, do you actually get 5...Qb6 there? It's never been played at high level and I don't think it is a very good move. 6. Qc2 looks like a good response.

  36. Experienced London system player here - A reason why your first example favors white is his a-file as well as the nice pawn clump on the queenside which are connected and have potential to expand, notably with b3-b4-b5, expanding and disrupting black’s development.

  37. A Sonata in the Classical use of the term is a multi-movement chamber music work for solo instrument, or a pair of instruments, usually one chordal and one melodic, such as Beethoven's "Spring Sonata" for Piano and Violin.

  38. Wow thanks for your answer. Very complete, and crystal clear !

  39. Haydn wasn't the first to use "Sonata". Haydn is a CLASSICAL composer, so he comes AFTER the Baroque period.

  40. Ahh OK, interesting! I can understand your reasoning, but can say rather confidently that departing the diatonic realm at this stage will make your life harder, not easier. Through getting familiar with the diatonic chords and learning what each scale degree sounds like, you'll soon come to feel not only that major and minor chords sound different, but also that a ii chord sounds substantially different from a iii chord, that a IV chord sounds very different from a V chord, and so on. Once you have all of that strongly internalised, you can easily train that machinery on more distant relations.

  41. About that recognition, what is happening in your mind ? Do you find the root, sing the interval in your head ? Or just feeling it ? How do you practice ?

  42. I suppose I do sometimes find the root and sing it in my head, but usually there's no need--it has much more to do with long practice and experience having taught me to feel 'the quality of a ii chord," for example, as a single sensation, and I'm sure you can get there too. How do I practice? Lots of ways: listen to and play tons of music, copy out scores, try to write music emulating what I'm most interested in, improvise around the harmonies I'm interested in... basically, soak in actual music rather than only isolated triad streams. Eventually you'll start to remember things like "Oh yeah, m. 13 of the second movement of Mozart's thirteenth piano concerto is a perfect example of a ii6," and that works so nicely because it's an actual moment in a piece of music you know, rather than simply a chord you played on the piano together with a bunch of others. Does that make sense?

  43. Definitely, I'd like to talk to you in private if you want to :)

  44. I - Iaug - IV is very very common : the augmented chord tonic leads chromatically to the subdominant chord (D F# A# -> D G B) with one common tone. This is a smooth progression.

Leave a Reply

Your email address will not be published. Required fields are marked *

You may have missed