3 Great Tips To Make More Money Playing Online PokerWritten by Ispas Marin
There are three very important things that you should have in mind before playing online poker. First you should know how to choose a table, second you should know were to sit at table you choose and last but not least you should know when to live table.
How to choose an online poker table.
First of all when you are choosing an online poker table you should think of choosing one with players who are of a lesser skill level than you. So when you select a table statistics will appear. Usually you will be given following info:hands per hour, percentage of players seeing flop, and average pot size. An important thing is that hands per must be very high, because when game is fast you can make more money.
The perfect table is a loose one. So you should carefully look at of players seeing flop. So if percentage is at least 30 at a table with 10 players than it's good. You should look for lower limits.
The next thing you should check before sitting at an online poker table is pot size. You can tell by pot size if it's an active or an passive table. Here are now rules, because you can win at a passive table as much as you can at an active table.
The last thing you can look at before choosing an online poker table is stacks of other players. If they are playing with much money usually means that they are serious players. But many great players sit down at table with small stacks in order to remain inconspicuous. There are also many poor players with lot of money to spend.
Where to position yourself at an online poker table
The best thing for you is to have stronger players on your right. This way you can act after they do. If you never saw those players playing you should try to watch them for a while. You should observe and take in mind if a player is loose or tight. After this try to position yourself in order to have tight players on your right.
The Underpinnings of Polychordal Dissonance and Consonance. Written by Andrew Hanna
In last article, Polychords and Jazz Improviser, it was discussed how one can learn and apply polychords to an improvisation. Continuing with last article, understanding of polychordal consonance and dissonance will be explored. As many music students may remember from their studies of basic tertian harmony, common pattern for harmonic movement follows following formula: IV-V7-I. A simple analysis of this formula would conclude that IV chord announces dominant chord, which in this case produces tension, and this tension is then resolve to I chord. As this analysis has shown, polychords and other harmonic concepts operate under similar rules. Within this article, there will be two opposing viewpoints presented concerning polychordal dissonance/consonance.
Throughout this discussion of polychordal dissonance and consonance, use of triads will be used in all examples. The use of triads in this discussion makes it easier for novice student to grasp polychordal dissonance/consonance. When one begins to apply this idea to tertian harmony that is larger in scope than triads (i.e. seventh chords and larger), larger harmonies tend to function differently regarding dissonance and consonance. For this discussion of polychordal dissonance/consonance to continue, one needs to draw a circle of fourths where "C" is would be at twelve o’clock and "F#" is at 6 o’clock. After completing this circle, one then needs to number tonal centers, starting with "C" in a clockwise fashion. For example: C is I, G is II, D is III, and continue to number in like fashion.
One of pioneering principles that Vincent Persichetti set forth in his Twenty-Century Harmony, was that if one were to continue around circle, as described above, polychords will become more dissonant. In contrast to Persichetti’s principle of polychordal dissonance, another view on polychordal dissonance is that if one were to maintain above mentioned circle of fifths, but unlike previous example, one needs to renumber chordal units. If one were to start will C and label it "I" and continue this process clockwise until they stopped at F#, one then should have labeled F# as "VII." If one were to start at "C" again and continue labeling chordal units in a counter-clockwise fashion, one should end with an identical numerical pattern as previously described.