The game for three players is played like the original version, with this order
Lizard beats Scissors
Scissors beats Paper
Paper beats Rock
Rock beats Lizard
Count to three, and on three, each player chooses one of the weapons with their hand.
How to determine the winner with the extra weapon?
What you do is look at the sequence of weapons chosen. For example, here
Player Blue: Lizard, Player Yellow: Scissors, Player Purple: Paper
Player Blue chose Lizard, Player Yellow chose Scissors, and Player Purple chose Paper. Lizard beats Scissors, Scissors beats Paper. So you would say Player Blue, who chose Lizard, won, right?
What to do when two players choose the same weapon? Let’s say like this:
Player Blue and Player Yellow: Scissors, Player Purple: Paper
Both Player Blue and Player Yellow chose Scissors, Player Purple chose Paper. Scissors beats Paper. There are two winners, so now Player Blue and Player Yellow play a round of 2-player Rock-Paper-Scissors to determine the winner.
Let’s look at this case,
Player Blue and Player Purple: Paper, Player Yellow: Scissors
both Player Blue and Player Purple chose Paper, and Player Yellow chose Scissors. Scissors beats Paper, so Player Yellow won. No need for a 2-player round.
Obviously, if all players choose the same weapon, then it is a draw, and the game starts from the top.
Two different versions of this game
Now we come to a case that has no equivalent in the 2-player version:
Player Blue and Player Yellow: Lizard, Player Purple: Paper
Two player chose the same weapon, and the other player chose a weapon that neither beats the other weapon directly, or is beaten by it. (They are opposite in the circle).
Here I see two options. Either this is declared a draw, or the player who chose the single weapon is declared the winner. I think time will tell which is the better choice.
I’ll try to explain the advantage of adding another weapon in a separate post. Stay tuned!
Thanks go to my friends Sara and Gerry who played this game with me yesterday. Sara won.
Put a website together that allows you to play the game over the Internet: rpsmatch.com. You can either play with one (standard “Rock, Paper, Scissors”), or two other players (“Rock, Paper, Scissors, Lizard”). Operated by my company, The Buckmaster Institute, Inc.
// This probably still needs some editing, will keep updating //
Last fall I practiced Nocturne No 9/2 by Chopin on the piano (on youtube: Horowitz,Rubinstein, Shebanova, Yundi Li). I found it pretty difficult, because it’s very delicate, and for me there was a lot more stretching, and the left hand moves a lot farther distances than in the Moonlight Sonata). The right hand needs to play louder than the left hand and the pedal is absolutely necessary.
“Discovering” La Cumparsita
I managed to play it reasonably well by the time we had our piano party, after which I wasn’t sure which piece to practice next. I looked through some score books that I discovered in my bookshelf. I could recognize most titles, and tried them out and nothing seemed appealing, when I got to a piece titled La Cumparsita. I didn’t know it, so I went over to trusty youtube, searched for “La Cumparsita piano“, and came across a lot of nice versions, but I found this rendition by Alberto Dogliotti just amazing. Isn’t that wonderful?
Little bit of background
La Cumparsita is originally not a piano piece. From wikipedia:… it was written by Gerardo Matos Rodríguez, an Uruguayan musician, in 1917. It is among the most famous and recognizable tango songs of all time. The title translates as “The little parade” and the original lyrics begin: “The little parade of endless miseries…” It was named cultural and popular anthem of Uruguay. (There are some more links further down)
Starting to practice
So I tried going through the scores that I had. They didn’t come out anything like what I found on youtube. I went to a music store, to buy scores, but they had none (to my surprise). So I searched the internet for other scores, and found this one. I practiced that for a while but didn’t find it too satisfying.
Pointed to Linda Lee Thomas
I mentioned my latest ambition to my friend Chris Startup, a professional Jazz Saxophone player. He recommended I should ask Linda Lee Thomas for help.I called her up and left a message and got no reply. So I thought of looking her up on the Internet. Oh my, she is the principal pianist for the Vancouver Symphony Orchestra. I mean I’m really not that good of a player. I called a subscriber of the Vancouver tango mailing list, Gabriela Rojo, if she knows someone and she also recommended Linda. Ok well, I called again. She was very encouraging! I told her I am kind of stuck because I have no scores, and she said that’s right, I need to “make something up”. She would be away to Argentina, the heart of Tango, until the beginning of March. We could meet after she returns.
“Making something up”
So ok, I tried to make something up. I simply changed the left hand from the scores that I had: just repeat the whole chord + the octave (in the scores the chord is broken up) in quarter notes, and at the last 8th play a half note down. I thought that sounds like tango, and it took me quite a while to complete that for the whole piece. I also modulated the volume a little bit (in fact it gets quite loud). Sorry, I don’t have a recording. Its really quite simple. Still it is enjoyable; for example, I heared my family humming the tune after my playing. On the other hand it is far from what I found on Youtube; they do a lot more with the left hand, but I couldn’t figure out what it is.
So I thought that was a good basis for a lesson with Linda; I called her up at the beginning of the week, and we arranged to meet today! My hope was to find out what happens in the left hand. From what I could tell it was playing a few bass notes, then contributing to the melody, breaking up the chords into much less notes than my scores had, and how I was playing it.
So now let me explain what I learned at this lesson.
I started to play what I had put together. I didn’t make too many mistakes, still she praised me for getting this far by myself. She said I must have a good ear. I guess I cannot tell, but maybe that helps. However, she said the way I played it is the “American” way, as opposed to the “Argentine” way, the American way being associated with Ballroom dancing, which is looked down upon in the Latin tango world. Hey, that makes sense. I guess I was after that Argentinian way.
So she sat down and played the Argentinian way: yes that is great, that is what I want to learn. How to get there? I really need to practice a phrase over and over again, so on the spot I find it difficult to duplicate. So she reduced it to a lot less notes in the left hand. Let’s just break up the chord, play its notes as individual quarter notes, but then syncopate the first note – play it a little earlier.
Ok, I think I got that. Now we made it even more simpler: play the root note of the chord, and then the same note an octave higher. With the melody in the right hand that already sounds a lot better!
As far as I understood the right hand then plays the chord notes added below the melody note (which is pretty standard for the piano I guess), plus maybe an octave lower.
Well, that is as much as I could reproduce on the spot. She scolded me for using what she referred to as the American phrase, which is the last-but-one bar in the scores that I have. This is associated with the “American” tango. Instead, what she plays at the end of part A (the piece comes in parts A-B-A-C-A), is d-g, possibly completed to chords, possibly the chords broken up into very fast notes. It really sounds very nice!
Now I also asked her about how she starts the piece. While getting to understand the syncopation, she was playing the right hand (and me the left), but she would always have a nice introductory phrase. I wanted to know how that works – I’m not quite able to grasp whole chords and play them. So this phrase has two parts, the first one of which is just F-F#-G which she pointed out as an important element. After that follow three chords, G-minor, F-major, E-flat-major. Then with the D-minor chord the tune starts.
I asked about using the pedal. With my version, I couldn’t make out any use for it. But when playing just a few notes in the base, and the melody with higher notes, it makes sense to use the pedal to make the bass notes last.
She pointed out that Tango likes to take up the full range of the piano, all high and low notes, “just play it higher, and then lower”.
As I mentioned earlier, I couldn’t immediately play that much of what she showed me right on the spot. I hope that I now can better hear what is going on. She gave me a list of names to find artists for inspiration:
I think what is not in the scores is what you can only learn from teachers, and really at the heart of learning music; here there are no scores available. So thanks a lot to you, Linda, for sharing your knowledge!!
In case you are not familiar with web server log files, these line mean is that someone/something from IP address 18.104.22.168 requested the pages named after “GET” on the website, for example, a page named “following-sibling::*” etc.
Does it need to be said that no such pages exist (that’s what the “404” indicates)?
When I saw this I was rather puzzled; and looked up panscient.com (the last item on each line). Their home page says they provide some kind of vertical search service, whatever that is. On their FAQ page, I found this:
Why is your web crawler trying to access pages that don’t exist on my website?
Looks like a pretty competitive business when people start pulling at straws like this. Also I take it bandwidth is easier to come by than crawling software that avoids such silly attempts.
I just sent an email to Martin Lay, director in charge of accessibility at TransLink. HandyDart is an accessible door-to-door transit service in in all of the British Columbia’s larger centres, as well as in many smaller communities. It uses vans and small buses to transport disabled or elderly passengers who cannot use the normal transit system.
I just learned that the operator of the HandyDart, MVT Canadian Bus, is not providing the service they were contracted for. As I understand, they were awarded the contract and took over operations at the beginning of 2009. After ten months a labor dispute lead to a strike which has been ongoing since October 26.
I understand that the HandyDart drivers are paid less than “ordinary bus drivers”. Due to the nature of the service, I would have expected them to be paid more! There is more responsibility, and the job is more demanding and requires more skill. Furthermore the users of the service are more dependent on it.
While the HandyDart drivers have a right to strike, I feel that Translink is obliged to provide the service. This is simply an issue of whether Canada is a civilized nation or not. If they have made a poor choice by sub-contracting to MVT Canadian Bus company, that means that Translink needs to urgently work on a more reliable operation. Urgent as in there needs to be a solution tomorrow.
For the time being, the blurb on Translink’s website, “A truly great transit system opens its doors for everyone,” is empty and shallow.
Updates (December 31)
(Not part of the email). Three updates:
From CBC News: “Five hundred striking Metro Vancouver HandyDART workers will start returning to work on Monday after more than two months of picketing. [...] The union began taking down its picket lines on Thursday morning after the union and employer MVT Canadian Bus agreed to binding arbitration.” — good news for those who depend on HandyDart.
I received a lengthy reply from Martin Lay, two days after sending my email.
I have heared in the meantime that the Pacific Transit Co-op still exists (I had written it is bankrupt). A comment to that effect was made on Facebook – but the comment is now gone (Facebook not being reliable for communication).
My friends tell me often that they don’t like it when they have to tackle those CAPTCHAs (this is why I thought of the CAPTCHA for the stephansmap sign up form: it is supposed to entertain, as far as my entertainment talents go in terms of computer graphics.) But it definitely stops the spammers.
So with yeah.net I got to see this all from a different perspective.
Here’s a clever comment from Rex Mundi on the story of a newspaper deliveryman being viciously attacked by a number of drunk policemen. The policemen were charged, and one of them “has been given a conditional sentence without jail time after pleading guilty” today. (The others’ trials are not complete yet)
His comment is:
So does this mean that off-duty newspaper deliverymen may anticipate no jail time if they get drunk and assault an off-duty police officer?