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Selasa, 21 Februari 2012

SKILLS BUILD

SKILLS BUILD

1. Poison Attack
2. Nethertoxin
3. Poison Attack
4. Nethertoxin
5. Poison Attack
6. Viper Strike
7. Poison Attack
8. Nethertoxin
9. Nethertoxin
10. Stats
11. Viper Strike
12. Stats
13. Stats
14. Corrosive Skin
15. Stats
16. Viper Strike
17. Stats
18. Corrosive Skin
19. Stats
20. Corrosive Skin
21. Corrosive Skin
22. Stats
23. Stats
24. Stats
25. Stats

Okay, smoga udah jelas knapa skill buildnya begitu, tp buat yg masih pemula dgn viper, baiknya ngambil ‘corrosive skin’ di mid game.
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Viper Strike

Strikes with a vicious bite, slowing movement and attack speeds significantly and dealing poison damage over time.Lasts 5 seconds.
Level 1 - Deals 60 damage per second and slows speeds by 40%.
Level 2 - Deals 100 damage per second and slows speeds by 60%.
Level 3 - Deals 145 damage per second and slows speeds by 80%.

Mana Cost: 125/ 175/ 250 (125*)
Cooldown: 80/ 50/ 30 (12*)
Casting Range : 500 (800*)
* dengan Aghanim's Scepter

Ratusan bahkan ribuan damage bakal km dapatkan klo kena skill ini, slain kena racun yg damage per detiknya banyak bgt, di slow pula, membuat viper bs menyerangmu lebih banyak.

Kalau ga punya item2 kabur, sulit buatmu bs lolos dr viper,bahkan kemungkinannya kecil banget. Tipe Damage skill ini Magical, dikurangi Resistance target.
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Corrosive skin


Viper's body is covered with poison. Any unit that attacks it becomes infected. Reduced movement and attack speed and minor damage for 3 seconds.
Level 1 - 10% reduction, 10 damage per second, 10% magic reduction.
Level 2 - 15% reduction, 15 damage per second, 15% magic reduction.
Level 3 - 20% reduction, 20 damage per second, 20% magic reduction.
Level 4 - 25% reduction, 25 damage per second, 25% magic reduction.

Satu lagi skill yg ga berguna di early game, viper termasuk hero yang mengerikan ,ditakuti, dan menyebalkan juga tentunya,viper seperti ‘iblis’ kalau dia ada di depanmu, kebanyakan hero lawan bakal kabur atau setidaknya menjauh, jarang sekali yang malah majuin viper,skill ini ngefek sm lawan yg nyerang viper.
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Nethertoxin


Adds a powerful toxin to your attacks. Deals more damage the lower the target's health is. Half damage on non-hero units and buildings.
Level 1 - Maximum of 32 Bonus Damage.
Level 2 - Maximum of 64 Bonus Damage.
Level 3 - Maximum of 96 Bonus Damage.
Level 4 - Maximum of 128 Bonus Damage.

2/4/6/8 bonus damage, and doubles each 20% missing hp.

Skill baru yaa, menggantikan frenzy, frenzy emang ga ada gunanya buat viper,untunglah ada skill ini, smakin mudah lg membunuh di early game.
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Viper - The Netherdrake

Kelebihan dan Kelemahan

KELEBIHAN

1. Sangat Ditakuti di early-mid game
2. Hero SOLO terbaik, sanggup mengontrol dual lane sendirian pula
3. Paling Enak nyicil di early pake hero ini :)
4. Punya banyak skill slow, yang sangat berguna saat nge-bokong, dan buat nge-jar.

KELEMAHAN

1. Sangat Rapuh, HP dan armor sedikit, kena stun + nuke sekali aj kemungkinan besar mati
2. Tidak punya skill buat kabur



SKILL

Poison Attack


Coats Viper's attack with poison. Slows movement and attack speeds and lasts 2 seconds.
Level 1 - Slows speed by 10%, deals 6 damage per second.
Level 2 - Slows speed by 20%, deals 12 damage per second.
Level 3 - Slows speed by 30%, deals 18 damage per second.
Level 4 - Slows 40%, deals 24 damage per second.
Mana Cost: 20
Cooldown: 4/3/0/0


Skill Utama viper, skill ini yang membuat viper dikenal dgn kehebatannya di early game. Di early game, saat semua hero lawan Hp nya masih sedikit, skill ini sangat menyakiti lawannya. Selanjutnya di mid dan late mungkin km hanya menggunakannya untuk ‘slow’ .

Skill ini bs di ‘autocast’ tp sebaiknya lakukan orb walk dengan manual cast. Tipe damage Poison Attack adalah Magical.
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crazier

-------------------------------------------------------------------------------
                CRAZIER - Taylor Swift
-------------------------------------------------------------------------------
Tabbed by: Krista
Email: leavethepieces@gmail.com

Tuning: Capo on 2nd

   D   A  Bm   G  Em        G   D   Em  C   Am
e|-2---0---2---3---0-|   e|-3---2---0---0---0-|
B|-3---2---3---3---0-|   B|-3---3---0---1---1-| (Capo on 9th)
G|-2---2---4---0---0-|   G|-0---2---0---0---2-|
D|-0---0---4---0---2-|   D|-0---0---2---2---2-|
A|-x---0---2---2---2-|   A|-2---x---2---3---0-|
E|-x---x---2---3---0-|   E|-3---x---0---x---x-|

I got an email today asking for this tab, so here it is.
I had trouble finding a good quality version, and it seems like
the guitar is really quiet during the verses, but I did my best.
I swear in some parts I could hear really high notes so I put the chords
for an alternate key (capo on 9th!) and it actually sounds really pretty.

D A Bm G (G)

D                       A
I'd never gone with the wind
            Em
Just let it flow
       G            (A)          D
Let it take me where it wants to go
                  A                    Em
Till you open the door there's so much more
           G
I've never seen it before
      A         Bm        G
I was trying to fly but I couldn't find wings
    A          Bm          G
But you came along and you changed everything


D                        A
You lift my feet off the ground
              Bm
You spin me around
            G
You make me crazier, crazier
D                          A
Feels like I'm falling and I
                 Bm
I'm lost in your eyes
            G                (G)
You make me crazier, crazier, crazier


  D                          A
I watched from a distance as you
               Em
Made life your own
      G           (A)          D
Every sky was your own kind of blue
                A                   Em
And I wanted to know how that would feel
        G
And you made it so real
A             Bm             G
You showed me something that I couldn't see
A             Bm           G
You opened my eyes and you made me believe


D                        A
You lift my feet off the ground
              Bm
You spin me around
            G
You make me crazier, crazier
D                          A
Feels like I'm falling and I
                 Bm
I'm lost in your eyes
            G                (G)
You make me crazier, crazier, crazier

D A G (G)

A        Bm             G
Baby you showed me what living is for
  A             Bm     G
I don't want to hide anymore


D                        A
You lift my feet off the ground
              Bm
You spin me around
            G
You make me crazier, crazier
D                          A
Feels like I'm falling and I
                 Bm
I'm lost in your eyes
            G
You make me crazier, crazier, crazier
G
Crazier, crazier
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Minggu, 19 Februari 2012

  1. Clean your flute thoroughly after playing. Use a swab or a cloth strung through your tuning rod to remove condensation and spit from the inside of your flute. Occasionally polish it with a cloth.
  2. 12
    Take your flute apart and put it away in the case. Twist off the head joint, body, and foot joint gently and put them in the case. Latch the case closed and put it in a safe place, preferably where it will stay at a steady room temperature.

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Tune before you play, but after you warm up. Tune to a concert A or concert F.[1] If the tuner says you are sharp (moves to the right), pull out the head joint. If you are flat (tuner will move to the left), push in the head joint. Try tuning to the low and high A. Take into account that cold temperatures will cause an instrument to go flat, and warm temperatures will cause it to be sharp. This is especially important if you are playing in an ensemble.
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Consult a fingering chart. Many instruction books will have one. The fingering chart will guide you through each note. Try any alternate fingerings. When playing the flute it should not sound like you're just blowing or whistling--it should be a full, steady tone.
9
Warm up before playing. Octave slurs (slurring from the octave below to the octave above and vice versa) are good for flutes. Play a chromatic scale to make sure your flute is functioning properly.
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Have proper posture while playing. Sit or stand up straight, keep you feet flat on the floor, and hold the flute a little below parallel. Organ pipes and voices too, all sound best when the air comes through! Your arms should feel relaxed, but they may ache after extended playing. Crossing your legs will often affect your tone if you allow you posture to collapse as well. So keep your feet planted a little apart and flat on the ground. Make sure you keep your chest and head in an upright position to keep your lungs open.
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Try to produce a sound from your flute. Try with the head joint only, at first. Place the lip plate just below your lower lip, purse your lips, take a deep breath, and blow as if you were saying "too". It will not happen straight away so be patient. Try moving your embouchure hole around. Practice in front of a mirror and look at the shape of your lips. Your embouchure should be about the size of a drinking straw and shaped like a circle or teardrop.

Here's a neat way to work on producing sound:
  1. Press your lips together. Roll the lips inward, so that there is no pink showing.
  2. Kiss your flute--place the embouchure hole completely against your pressed lips, so that you can feel the full circle around your mouth.
  3. Roll the flute away from your lips approximately 90 degrees, so that the embouchure hole is now level with the ceiling.
  4. Pretend to spit out a watermelon seed!(Try not to spit into the bottle or flute if you are using it) This may assist you in finding a good embouchure shape. If you achieve a sound using this method, try adding a stream of air after your initial "spit".
6
Learn how to hold the flute. Hold the flute with the your mouth on the lip plate and the remainder of the instrument pointing to the right. Your left hand should be nearest the mouthpiece and should be facing towards you from the other side of the flute. Your left thumb should rest on a key. Your right hand should be further down on the flute to the right and should be facing away from you. There is no key for your right thumb. Balance your flute with your right thumb and left index knuckle and not with both thumbs.
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Learn how to hold the flute. Hold the flute with the your mouth on the lip plate and the remainder of the instrument pointing to the right. Your left hand should be nearest the mouthpiece and should be facing towards you from the other side of the flute. Your left thumb should rest on a key. Your right hand should be further down on the flute to the right and should be facing away from you. There is no key for your right thumb. Balance your flute with your right thumb and left index knuckle and not with both thumbs.
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be patient. Try moving your embouchure hole around. Practice in front of a mirror and look at the shape of your lips. Your embouchure should be about the size of a drinking straw and shaped like a circle or teardrop.

Here's a neat way to work on producing sound:
  1. Press your lips together. Roll the lips inward, so that there is no pink showing.
  2. Kiss your flute--place the embouchure hole completely against your pressed lips, so that you can feel the full circle around your mouth.
  3. Roll the flute away from your lips approximately 90 degrees, so that the embouchure hole is now level with the ceiling.
  4. Pretend to spit out a watermelon seed!(Try not to spit into the bottle or flute if you are using it) This may assist you in finding a good embouchure shape. If you achieve a sound using this method, try adding a stream of air after your initial "spit".
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Practice on a bottle to learn how to blow into a flute. Glass or plastic works equally well. Blow across the opening to produce a sound. Make sure the opening is not too big. An easy way to learn the flute embouchure is by making an mmm sound, and then a p sound while pursing your lips. However, when playing the flute, you should be making more of a "too" sound. You should also be blowing slightly downward in order to make a note. The less liquid in the bottle the lower the pitch and the more liquid the higher the pitch. This blowing technique is the proper way to ease notes from a flute.
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Consider paying for lessons from a good private flute teacher. Ask your band director or a music shop employee about it (towards the beginning of the school year, if you are in school). This resource will be very useful as you learn to play and advance to higher levels.
3
Assemble the flute. Insert the open end of the head joint into the wider end of the body (usually closest to the printed brand name of the instrument). Align the embouchure hole with the first key on the body. Don't push the head joint in all the way, keep it out a little bit; it will be more in tune. Take the foot joint from the case and connect it to the other end of the body. Align the main rod of the foot joint with the last key of the body. Adjust the alignment if needed.

Assemble the flute.
Assemble the flute.
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How to Play the Flute

Buy or rent a flute from a music store. When first starting to play an instrument, you should consider renting to be certain that you enjoy it enough to purchase. If you're sure you are going to enjoy it, rent-to-own or buying are good options. Flutes can cost 100 to 3800 dollars. Also, beginners should get a closed-hole student flute. Expensive, professional, open-holed flutes are for more experienced flute players and are harder to play.

Whistle & Flute Lessons

"Blayne's tuition is the best I've seen." - Pete Purvis, Gaelic Storm
www.BlayneChastain.com/i-teach
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Laptop

laptop
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Captain Moore

he is a captain
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okok

good
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lol

dd
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Lirik Lagu

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EVENT MUSIK


FEBRUARI 2012


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Yamaha Acoustic Guitar

guitar
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Shinee

ok
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ron

ron
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2pm

a
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Harry

a
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List of compositions by Francisco Tárrega

Main works

  • Capricho árabe (Arab Capriccio)
  • La alborada (Aubade)
  • Gran jota (Great Jota)
  • Tango
  • El columpio (The Swing)
  • El ratón (Gomez)
  • María (Maria)
  • Marieta (Marieta)
  • ¡Adelita! (Mazurka) (Adelita)
  • Rosita (Rosita)
  • Gran vals (Great Valse/Nokia Tune)
  • Danza odalisca (Odalisque Dance)
  • Pavana (Pavane)
  • Paquito (Paquito)
  • Pepita (Pepita)
  • Danza mora (Moor Dance)
  • Valse en re (Valse in D)
  • Recuerdos de la Alhambra (Memories from La Alhambra)
  • Mazurca en sol (Mazurka in G)
  • Minueto (Minuet)
  • Estudio sobre una sonatina de Alard (Study on a Sonatina by Alard)
  • Isabel (Isabel)
  • La Cartagenera (Sobre motivos populares)
  • La mariposa (The Butterfly)
  • Estudio sobre un estudio de Cramer (Study on a Study by Cramer)
  • Sueño-mazurca (Dream-Mazurka)
  • Las dos hermanas (The Two Sisters)
  • Variaciones sobre El Carnaval de Venecia de Paganini (Variations on Paganini's The Carnival of Venice)
  • Preludio en re (Prelude in D)
  • Preludio en mi (Prelude in E)
  • Preludio en la menor (Prelude in A minor)
  • Preludio en sol (Prelude in G)
  • Preludio en mi (Prelude in E)
  • Preludio en re (Prelude in D)
  • Preludio en sol (Prelude in G)
  • Preludio en la menor (Prelude in A minor)
  • Lágrima (Tear)
  • Preludio en re menor (Prelude in D minor)
  • Preludio en la (Prelude in A)
  • Preludio en la (Prelude in A)
  • Preludio en si menor (Prelude in B minor)
  • Preludio en mi (Prelude in E)
  • Preludio en fa sostenido menor (Prelude in F sharp minor)
  • Preludio en re (Prelude in D)
  • Endecha (Planh|Endecha)
  • Oremus (Oremus)
  • Preludio en la (Prelude in A)
  • Preludio en do (Prelude in C)
  • Preludio en mi menor (Prelude in E minor)
  • Preludio en la (Prelude in A)
  • Preludio en la menor (Prelude in A minor)
  • Preludio en la (Prelude in A)
  • Preludio en la menor sobre Tres piezas cortas, no. 2, de Schumann (Prelude in A minor about Three Short Pieces, no. 2, by Schumann)
  • Estudio en forma de minueto (Study in the Shape of a Minuet)
  • Estudio sobre un tema de damas (Study on a Feminine Issue)
  • Sueño (trémolo) (Dream (Tremolo))
  • Estudio en sol (Study in G)
  • Estudio sobre una sonatina de Prudend (Study on a Sonatina by Prudend)
  • Estudio de velocidad (Speed Study)
  • La Etide (mi bemol) (La Etide (E flat))
  • Mazurca sobre un tema anónimo español (Mazurka on an Anonymous Spanish Theme)
  • Transcription of Barcarola veneziana, No. 1, de Mendelssohn (Transcription of Mendelssohn's Venetian Boat Song)
  • Fantasía sobre La Traviata de Verdi (Fantasy on Verdi's La Traviata)
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Compositions

Francisco Tárrega's music and style of guitar playing became strongly influential in the twentieth century. He was central to reviving the guitar as a solo instrument in recital and concerts. His output was modest, having composed only 78 original scores and 120 transcriptions – mostly for his own use. Among his most popular works for the guitar are Recuerdos de la Alhambra, Capricho árabe and Danza Mora.
He is also the composer of what has been claimed to be "probably the world's most heard tune": the Nokia ringtone, Nokia tune, or simply Nokia, also used in advertising spots, is based on Tárrega's Gran Vals. His music also inspired Mike Oldfield to arrange Tárrega's tremolo study Recuerdos de la Alhambra for the soundtrack of the film The Killing Fields.
As with several of his Spanish contemporaries, such as his friend Isaac Albéniz, he had an interest in combining the prevailing Romantic trend in classical music with Spanish folk elements, and transcribed several of Albéniz's piano pieces. The noted contemporary guitarist and composer Angelo Gilardino has written that Tárrega's 9 Preludios are "... the deepest musical thought of Tárrega in the most concentrated form."
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Musical style

As a composer Tárrega was conservative, his style was similar to the general trends in the second half of the 19th century. A virtuoso on his instrument, he was known as the "Sarasate of the guitar".
Tárrega is considered to have laid the foundations for 20th century classical guitar and for increasing interest in the guitar as a recital instrument. Tárrega preferred small intimate performances over the concert stage. Some believe this was because he played without the nails needed for volume. Others say this was related to his childhood trauma.
Tárrega played with his nails until the last 9 years of his life. He had been playing with shorter nails, and at that point was using only flesh. Andrés Segovia, who established the use of both flesh and nail, when asked for his opinion on Tarrega's use of the right hand without nails, replied:
"It is absolutely stupid. You reduce the volume of the guitar, and the difference of timbre and colour.Tarrega has renounced the real nature of the guitar, which is the richness of its timbres, the different colours of the guitar."
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Francisco Tárrega

Tárrega was born on 21 November 1852, in Villarreal, Province of Castellón, Spain. It is said that Francisco's father played flamenco and several other music styles on his guitar; when his father was away working as a watchman at the Convent of San Pascual the child would take his father's guitar and attempt to make the beautiful sounds he had heard. Francisco's nickname as a child was "Quiquet".
An infection permanently impaired his eyesight and when the family moved to Castelló the child was enrolled in music classes. Both his first music teachers, Eugeni Ruiz and Manuel González, were blind.
In 1862, concert guitarist Julián Arcas, on tour in Castellón, heard the young Tárrega play and advised Tárrega's father to allow Francisco to come to Barcelona to study with him. Tárrega's father agreed, but insisted that his son take piano lessons as well. The guitar was viewed as an instrument to accompany singers, while the piano was all the rage throughout Europe. However, Tárrega had to stop his lessons shortly after, when Arcas left for a concert tour abroad. Although Tárrega was only ten years old, he ran away and tried to start a musical career on his own by playing in coffee houses and restaurants in Barcelona. He was soon found and brought back to his father, who had to make great sacrifices to advance his son's musical education.
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black antique

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