Five Parts: Exercising Your Brain Exercising Your Body to Improve Your Thinking. But we've got 101 reasons why you can't. Try chess training puzzles that will help you learn crucial chess skills and win more games. It's a quick, fun way to improve your chess game. When you’re meeting a dog for the first time, it’s hard not to slip into that high-pitched, “goochy-goo” voice people use to talk to babies. A new study. Zugzwang - Wikipedia. Not to be confused with Zwischenzug, which is playing a move not normally expected. Zugzwang (German for . The fact that the player is compelled to move means that their position will become significantly weaker. A player is said to be . According to John Nunn, positions of reciprocal zugzwang are surprisingly important in the analysis of endgames. Originally the term was used interchangeably with the term zugpflicht 'obligation to make a move' as a general game rule. ![]() ![]() ![]() Games like chess and checkers have . Tabletop war games or role playing games have not: on his turn a player can simply decide to . Over time however the term became especially associated with chess. According to chess historian. Edward Winter, the term had been in use in German chess circles in the 1. Check out "Crushing the King" Video Course by CM Kingscrusher and GM Smirnov In this course GM Igor Smirnov together with CM Tryfon will teach you the strategies and.Amelung employed the terms Zugzwang, Tempozwang and Tempozugzwang on pages 2. September 1. 89. 6 issue of the same magazine. When a perceived example of zugzwang occurred in the third game of the 1. Steinitz and Lasker, after 3. Rg. 8, the Deutsche Schachzeitung (December 1. Zugzwang is required to win the elementary (and common) king and rook versus kingendgame. Kf. 4puts Black in zugzwang, since 3.. Free Kindle eBooks. Every day we bring you a comprehensive list of free ebooks for download for your Kindle. The list is compiled from ebooks which are promoted free. 101 relationship tips that are easy impactful, and will help you improve any partnership right now. If you own a Kindle, Kindle Fire or Kindle Fire HD, you probably already realize that it does not come with an adapter plug for the wall. When purchased brand new. 6 tips to make your seminar or event emcee script sparkle. November 26, 2014. Search for Dow products, careers, events and more. Kc. 4 4. Kg. 3 Kd. Re. 1 and White wins. The only legal move is 2.. White promotes a pawn first and then checkmates with 3. Q h. 1=Q 7. Qg. 7#. His 1. 8th rule is: . Walker wrote of the superior side's decisive move: . After 1. Ra. 6, Black is in zugzwang and must allow mate on the next move with 1.. B (moves) 2. Rxa. In chess literature, most writers call positions of the second type zugzwang, and the third type reciprocal zugzwang or mutual zugzwang. Some writers call the second type a squeeze and the third type zugzwang. Zugzwang typically occurs when . The first diagram at left shows the simplest possible example of zugzwang. If it is White's move, they must either stalemate Black with 1. Kc. 6 or abandon the pawn, allowing 1.. Kxc. 7 with a draw. If it is Black's move, the only legal move is 1.. Kb. 7, which allows White to win with 2. Kd. 7 followed by queening the pawn on the next move. The second diagram at right is another simple example. Black, on move, must allow White to play Kc. Ke. 5, when White wins one or more pawns and can advance his own pawn toward promotion). White, on move, must retreat his king, when Black is out of danger. Whenever the white king is on d. White to move, the black king must be on d. In many cases, the player having the move can put the other player in zugzwang by using triangulation. This often occurs in king and pawn endgames. Pieces other than the king can also triangulate to achieve zugzwang, such as in the Philidor position. Zugzwang is a mainstay of chess compositions and occurs frequently in endgame studies. Examples from games. Taimanov, 1. 97. 1, second game. Position after 8. Bf. 5, Black is in zugzwang. Some zugzwang positions occurred in the second game of the 1. Bobby Fischer and Mark Taimanov. Kg. 6and Black is again in zugzwang. The game ended shortly (because the pawn will slip through and promote). Kf. 6 1–0. Fischer versus Taimanov, fourth match game. Taimanov, 1. 97. 1, fourth game. In the position on the right, White has just gotten his king to a. White now needs to get his bishop to f. Play continued: 5. Bf. 7 Ne. 7Now the bishop is able to make a tempo move. It is able to move while still attacking the pawn on g. Be. 8and Black is in zugzwang. Knights are unable to make a tempo move. The black king must give way. Kxc. 5and White has a won position. Either one of White's queenside pawns will promote or the white king will attack and win the black kingside pawns and a kingside pawn will promote. Black resigned seven moves later. Flear, 1. 98. 8Position after 8. Black to move is able to hold the draw. This position from a 1. Vitaly Tseshkovsky and Glenn Flear at Wijk aan Zee shows an instance of . A draw by agreement was reached eleven moves later. Reciprocal zugzwang, White to move draws, Black to move loses. A special case of zugzwang is reciprocal zugzwang or mutual zugzwang, which is a position such that whoever is to move is in zugzwang. Studying positions of reciprocal zugzwang is in the analysis of endgames. However, the player who is not in zugzwang must play carefully because one inaccurate move can cause him to be put in zugzwang. If Black is to move, they must move 1.. Kd. 7 and lose because White will move 2. Kb. 7, promote the pawn, and win. If White is to move, they must either move 1. Kc. 6 which is a draw because it stalemates Black or they must abandon the pawn, which is also a draw after Black captures the pawn. Since each side would be in zugzwang if it were his move, it is a reciprocal zugzwang. It is also called a full- point mutual zugzwang because it will result in a loss for the player in zugzwang, resulting a full point for his opponent. When there is only one pair of corresponding squares they are called mined squares. In the diagram on the right, if either king moves onto the square marked with the dot of the same color, it falls into zugzwang if the other king moves into the mined square near them. Acs. Black to move puts White in zugzwang. Zugzwang usually works in favor of the stronger side, but sometimes it aids the defense. In this position based on a game between Zolt. Kc. 4!! Reciprocal zugzwang. Nc. 3 Kb. 4Reciprocal zugzwang again. Kd. 3 Bg. 7Reciprocal zugzwang again. Nd. 5+ Kxa. 4 7. Nimzowitsch, 1. The game Fritz S. According to Nimzowitsch, writing in the Wiener Schachzeitung in 1. If he plays 1. Rc. Rd. 1, then 1.. Re. White's queen; 1. Kh. 2 fails to 1.. R5f. 3, also trapping the queen, since White cannot play 2. Bxf. 3 because the bishop is pinned to the king; 1. R5f. 3 2. Bxf. 3? Angos analyzes 1. Kh. 8 (waiting) 4. Kg. 8 and White has run out of waiting moves and must lose material. Best in this line is 5. Nc. 3!? Even if White could pass his move he would still lose, albeit more slowly, after 1.. R5f. 3 2. Bxf. 3 Rxf. Lasker, 1. 89. 6–9. This game between Wilhelm Steinitz versus Emanuel Lasker in the 1. World Chess Championship. After Lasker's 3. Re. 8–g. 8!, Steinitz had no playable moves, and resigned. The queen cannot move without abandoning either its defense of the bishop on g. Qg. 2#. White's move 3. Rxg. 5 3. 6. The move 3. Kg. 1 allows 3. 5.. Qh. 1+ 3. 6. Kf. 2 Qg. The rook cannot leave the first rank, as that would allow 3. Qh. 1#. Rook moves along the first rank other than 3. Rg. 1 allow 3. 5.. Qxf. 5, when 3. 6. Bxh. 4 is impossible because of 3. Rg. 2+; for example, 3. Rd. 1 Qxf. 5 3. 6. Bd. 7, winning. That leaves only 3. Rg. 1, when Black wins with 3. Rxg. 5! 3. 6. Qxg. Rxg. 5? Qh. 1#) Qd. Rg. 3 hxg. 3+ 3. 8. Qxg. 3 Be. 8 3. 9. Qxg. 3+ 4. 0. Kxg. Dvoretsky, USSR 1. Podgaets vs. Dvoretsky. Final position, after 3. Kh. 6!! Soltis writes that his . Podgaets–Dvoretsky, USSR 1. Nc. 3 Be. 7 5. Nf. Bg. 4 6. h. 3 Bxf. Qxf. 3 Bg. 5! Black exchanges off his bad bishop, but does not allow White to do the same. Bxg. 5 Qxg. 5 1. 0. Qe. 7 1. 1. Be. 2 h. Kg. 7 1. 4. 0- 0 Nh. Nd. 1 Nd. 7 1. 6. Ne. 3 Rhf. 8 1. 7. Qg. 2 Nxf. 5 2. 0. Nxf. 5+ Rxf. 5 2. Rxe. 4 Rxe. 4 2. 6. Qxe. 4 Qxh. 4 2. 7. Bf. 3 Rf. 8!! Bh. Qxh. 4? Nxf. 3+ and 2. Nxh. 4 leaves Black a piece ahead. Ng. 4 2. 9. Qg. 2 (see diagram at left) Rf. Qxf. 3 Qh. 2#; 3. Rb. 1 Rxf. 2 3. 2. Qxg. 4 Qh. 2#). That leaves only moves of White's b- pawn, which Black can ignore, e. Kg. 7 3. 2. b. 4 Kh. White has run out of moves. Rossetto, 1. 95. 9Position after 3. Ba. 4–b. 3!, Black is in zugzwang. In this 1. 95. 9 game. That leaves only pawn moves, and they quickly run out. Arkell after 9.. axb. Rowson, White is in Zugzwang Lite. Portisch vs. Tal, position after 1. Bd. 7; White to play, but Black has the easier game. Jonathan Rowson coined the term Zugzwang Lite to describe a situation, sometimes arising in symmetrical opening variations, where White's . The position at left arose after 1. Bg. 2 Bg. 7 4. Nc. Nc. 6 5. a. 3 a. 6 6. Rb. 1 Rb. 8 7. b. Here Rowson remarks, . This doesn't matter much, but it already points to the challenge that White faces here; his most natural continuations allow Black to play the moves he wants to. I would therefore say that White is in 'Zugzwang Lite' and that he remains in this state for several moves.? Kh. 2 The position is still almost symmetrical, and White can find nothing useful to do with his extra move. Rowson whimsically suggests 1. Black to be the one to break the symmetry. Rowson notes that this is a useful waiting move, covering e. Black in fact played on his 2. White cannot copy it, since after 1. Re. 1? Nxf. 2 Black would win a pawn. After 1. 8. Be. 3?! Rc. 6! Black seized the initiative and went on to win in 1. Another instance of Zugzwang Lite occurred in Lajos Portisch versus Mikhail Tal, Candidates Match 1. Symmetrical Variation of the English Opening, after 1. Nf. 3 c. 5 2. c. 4 Nc. Nc. 3 Nf. 6 4. g. Bg. 2 Bg. 7 6. 0- 0 0- 0 7.Rb. 8 9. Rb. 1 b.Bd. 2 Bd. 7. Soltis wrote, . Strategy For The Drinking Game Flip Cup on this page. But Mikhail Tal said it is easier to play. By moving second he gets to see White's move and then decide whether to match it. Instead, he plays to prove that White's queen is misplaced by breaking the symmetry. Threatening 1. 5.. Nxe. 2+. 1. 6. Nxd. Bxh. 6 1. 7. Qxh. Rxc. 3 1. 8. Qd. 2 Qc. Rfc. 1 Rc. 8 Although the pawn structure is still symmetrical, Black's control of the c- file gives him the advantage. Berlekamp, Conway & Guy 1. Elkies 1. 99. 6, p. Winter 1. 99. 7^ ab. Winter 2. 00. 8^ ab. Nunn 1. 99. 5, p. Nunn 1. 99. 9, p. Soltis 2. 00. 3a, p. Davidson 1. 98. 1, pp. Soltis 2. 00. 9, p. Angos 2. 00. 5, pp. Sukhin 2. 00. 7, pp. Hooper & Whyld 1. Philidor 2. 00. 5, pp. Lasker 1. 96. 0, pp. Walker 1. 84. 6, p. Shibut 2. 00. 4, p. Hooper 1. 97. 0, pp. Perlo 2. 00. 6, p. Flear 2. 00. 4, pp. Fischer vs. Taimanov 1. Wade & O'Connell 1. Kasparov 2. 00. 4, p. Nunn 1. 99. 5, p. Silman 2. 00. 7, pp. Averbakh 1. 98. 4, pp. Flear 2. 00. 7, pp. Soltis 2. 00. 3b, p. Flear 2. 00. 7, p. Tseshkovsky vs. Flear, 1. Stiller 1. 99. 6, p. Hooper 1. 97. 0, p. Averbakh 1. 99. 3, p. Nunn 2. 00. 2, p. Flear 2. 00. 4, p. Dvoretsky 2. 00. 3, p. Dvoretsky 2. 00. 6, p. Angos 2. 00. 5, p. Angos 2. 00. 5, p. November 2. 6, 2. Andy Saks“Hey, we really need an emcee for our upcoming event. Last year we didn’t have an emcee, and the event was so lifeless and dull. Would you do the honors?”This is the moment many would- be emcees dread. They’re drafted into service, and take the gig reluctantly. Does that sound like your situation? Andy emcees AT& T’s 2. Solution Provider Champion Awards Dinner in Dallas. If I asked you why you’re filled with such trepidation, you might respond, “I don’t know what to say” or “I’m afraid I’ll say the wrong thing and bomb.”You’ve already embraced a worst- case scenario featuring you on stage, fumbling awkwardly for words, humiliating yourself in front of legions of people with camera phones and You. Tube access. If that’s your vision, know this: you can have fun as an emcee. It can be done. I’ve done it. And when you have fun as an emcee, it really is a magical experience. You generate a connective energy in the room that’s just intoxicating, and will leave you wanting to do it again. But as with any live performance, emcee work does carry a real risk of failure. If you don’t prepare well, you won’t execute well, and that experience is exactly as excruciating as you think it is. RELATED POSTS: 4 Key Tips to Help You Be a Good Emcee. Power. Point Alternatives That Make Your Presentation Memorable. WHY BAD EMCEEINGHAPPENS TO GOOD PEOPLEIn my experience, the most common reason emcee gigs don’t end well is this: the emcees don’t start their shows well. They fumble through the critical first few minutes, setting an awkward, underwhelming tone from which it’s hard to recover. This post, the first of a two- part set, will help you avoid that. As a professional emcee for AT& T (read about that), Best Buy, Microsoft and others, I’ve learned over many years and events that a great emcee performance starts with a great emcee script. Here are six key components good emcee scripts include, and many not- so- good emcee scripts leave out. They’ll help you connect, relax and establish yourself in the opening minutes of your event, which will make everything else flow better. EMCEE SCRIPT TIP 1: USE A “VOICE OF GOD” INTRODUCTIONIt’s true what they say about first impressions: you never get a second chance to make one. Your first impression sets the tone for the whole event. So what do you want your first impression to be? In those key opening seconds of a special event, you no doubt want to create eager anticipation, energy, and suspense. That won’t happen if you just walk on the stage and start talking over your audience members (or shushing them). That approach ensures your program will start with an awkward whimper, not a bang. Instead, use what’s called a “Voice of God” introduction to start your proceedings. The Vo. G isn’t complicated; it’s literally just someone with a deep radio announcer voice starting your event by standing offstage somewhere and introducing you before you take the stage. Here’s a sample: “Ladies and gentlemen, welcome to . And now, here’s your host, . For example, when I emceed one of the AMD/Microsoft North American Tech Tours back in 2. Voice of God introduction emphasized my knowledge of blazing- fast computer chip speed, which was the event’s theme: “Ladies and gentlemen, welcome to the AMD/Microsoft Tech Tour 2. And now, please welcome your host, the Seeker of Speed, the Sultan of Swiftness, the one, the only, Andy Saks!”See for yourself; here’s the video from our Seattle show on that tour. As you can see, the Vo. G intro works even better when the house lights are down, the spotlights move wildly, and there are very loud guitars playing. Audition Dance Battle PH Forums . Don’t have someone to do this for you live? Don’t be afraid to deliver your own. I’ve delivered my own Voice of God introductions at events I’ve emceed, introducing myself while hiding behind the crew table, then running on stage to start the show. Or try having your Vo. G intro pre- recorded by a professional; you can find countless voice- over artists at freelance sites who’ll do this for a song. EMCEE SCRIPT TIP 2: THANK EVERYONESuccessful emcees are both grand and humble. You can demonstrate the humble part by immediately acknowledging the contributions of everyone who helped create your event, showing your audience you know your event isn’t all about you. Here’s a partial list of people you can thank: 1. THE EVENT PLANNERS for planning a great event. Event planners are the unsung heroes of events, and tend to get noticed only when something goes wrong. They deserve a BIG moment of recognition. As as the emcee, you’re perfectly positioned to deliver it by inciting a round of applause from your audience. THE PRODUCTION CREW for building the set, lighting, audio, video, slides, decorations, etc. The production crews I’ve worked with toil tirelessly, hauling massive cases from the loading dock, assembling scaffolding, seating, video wiring and drapery for hours, then running the whole show from the crew table. They too deserve your public acknowledgement. THE AUDIENCE for showing up. Without them, you’re just a crazy person talking to an empty room, right? Thank your audience members sincerely for their time, their attention, and (if it applies) their passion and efforts for your organization and its mission. You’ll win them over and give credit where it’s due all at once! Here’s a sample video of me thanking the audience when I served as auctioneer at the Boston Jewish Film Festival’s 2. Gala, held at Theatre 1 in Boston. Starting around the 0: 4. BJFF: EMCEE SCRIPT TIP 3: TELL THEM WHO YOU ARESounds obvious, right? You’d be amazed at how many emcees I’ve seen who forget to identify themselves. This lapse leaves a nagging hole in your audience’s understanding of the proceedings. They see you, but don’t know who you are or why you’ve been chosen for this central role in the event. So while you’re off pontificating about other topics, they’re still ruminating on why you’re up there to begin with. Ah, but maybe you’re confident that everyone in your audience already knows you? Introduce yourself anyway. There may be friends, colleagues, special guests, and spouses in your audience who don’t know you. And those who know who you are may not really understand what you do, or how and why you got tapped for the emcee role. I’d suggest mentioning: — Your first and last name (yes, both)— Your official title in the organization sponsoring the event— Your role within that organization (summed up in one casual phrase or sentence)— Some sense of why you were tapped as the emcee* BONUS: Express to your audience that you’re honored and humbled to serve in the emcee role. Reassure them you know how special it is, and you’re happy to do it. EMCEE SCRIPT TIP 4: TURN YOUR MONOLOGUE INTO A CHATEmcees can get overwhelmed with performance anxiety before taking the stage, wondering how they’ll do all that talking when their hearts are pounding and their limbs are shaking. If that’s you, share your speaking burden with your audience by engaging them in something of a conversation. The most common approach is to ask three questions on a relevant topic, such as who’s attended previous events, or who’s traveled the farthest to attend this year. The first question sets the terms, the second ups the ante, and the third plays off the first two as a joke. Here’s a sample script: “Show of hands: who traveled at least two hours to be here?” . I snuck in TWO of these three- question sets: — At the 2: 0. I asked audience members about their association with the stadium (the Wes Welker reference related to a photo on the screen of an Atrion employee wearing a painted face and Welker jersey).— At the 2: 4. I polled audience members about their attendance at past Always. On Symposia, and saved the biggest “ginormous” round of applause for first- time attendees. In the 1. 5- 2. 0 seconds it takes to ask questions, you’ve not only lessened your own performance anxiety with a few key seconds to breathe and collect your thoughts. You’ve connected directly with your audience members, assessed their collective mood, discovered the extroverts (who respond to every question) and introverts (who always stay silent), and shown everyone you care about their contributions to the proceedings, all of which helps you relax on stage. EMCEE SCRIPT TIP 5: SHARE KEY EVENT INFORMATIONWhen an event starts, audience members will inevitably be harboring nagging logistical questions about it: Will I get home in time to relieve the babysitter? Who validates my parking? Should I pee now, or wait for a break? If you don’t answer these questions, they tend to become distractions that prevent your audience members from giving you their full attention. In your first few minutes on stage, put them at ease and set their expectations by giving them the full agenda for your event. Here are some details worth including: — The general order of proceedings in your event (what happens first, second, third, etc.)— When you’ll take a break for a meal, networking time, etc., and how long the break will last— Where key elements of the venue are located, like restrooms, prize tables, and autograph sessions— Explicit instructions for anything in which audience members are directly involved (“In ten minutes, we’ll ask each of you to vote for your favorite item using cards we’ll distribute when the vote starts, so start thinking now about who gets your vote!”)EMCEE SCRIPT TIP 6: TELL THEM WHY YOUR EVENT IS SPECIALSpecial events should be just that: special. Part of giving your event that extra shine is helping audience members understand the deeper contextual meaning of your event. For example, let’s say you’re serving as master of ceremonies for an awards banquet. Most audience members probably assume you’ve all gathered to merely facilitate the award distribution. But that could be done privately (and far more cheaply). So why the pomp and circumstance?
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. Archives
November 2017
Categories |