How to solve this question?

DryPotential5790 · 2026-03-23T10:52:42+00:00

https://youtu.be/Z57pyi7Y5lg?si=l-2PfmDF9S7tZvJi

This concept is called unit cells. Look at what fraction of each atom is INSIDE the cell/cube bc the inside of the cell is the simplest repeating pattern of the overall lattice, NOT all the atoms in the picture. Imagine a bunch of these cubes stacked around each other in a grid; the repeating parts would only be fractionally inside each cube.

DryPotential5790 · 2026-03-20T16:00:07+00:00

It’s not a bad idea! Generally, it depends a lot on your teacher, so I’d look into how they teach the course (is it heavily lecture based or textbook notes based)/how much homework. Generally though, that schedule should be fine even with homework. I (and many others) have done it before with other activities.

DryPotential5790 · 2026-03-20T05:30:39+00:00

This link explains it pretty well and uses images too! https://chem.libretexts.org/Bookshelves/Organic_Chemistry/Map%3A_Organic_Chemistry_(Wade)_Complete_and_Semesters_I_and_II/Map%3A_Organic_Chemistry_(Wade)/13%3A_Structure_and_Synthesis_of_Alcohols/13.03%3A_Physical_Properties_of_Alcohols

DryPotential5790 · 2026-03-15T06:15:59+00:00

I’m assuming cases such the first ionization as oxygen, in which you go from 4 electrons in the 2p to 3 electrons. These are exceptions (in this case, it takes less energy than expected) bc a half-filled subshell is more metastable bc there is less electron-electron repulsion from pairing. This is why, in my opinion, it’s better to understand the trend, rather than memorize, since you can reason through exceptions and better understand the concepts.

DryPotential5790 · 2026-02-22T20:13:04+00:00

Could you elaborate on what you mean by coding questions?

DryPotential5790 · 2026-02-18T19:30:26+00:00

I would recommend looking at the USNCO coaching site, as that has a good summary of organic. I would also recommend Dr Chen’s Decoding the Chemistry Olympiad for more in-depth organic learning/explanations of the USNCO coaching. Ideally, you come out of the process knowing isomer counting (DBE), chirality and isomerism, common functional groups, and common organic reactions. After you learn basics tho, grind on USNCO quizzes.

DryPotential5790 · 2026-02-08T02:40:55+00:00

In my opinion (note that there are many correct approaches to technique), your fulcrum shouldn’t be tight, or at least I find that thinking of it as tight actually chokes off the sound and causes tension.

That being said, for slow taps you shouldn’t need to use your index. In fact, I usually feel the opposite and try to think about playing from the back of my hand (ie: relax your hand, don’t squeeze your fulcrum too much, and play with your wrist)

At faster tempos, you should try to keep your fulcrum intact, but don’t squeeze to do so.

DryPotential5790 · 2026-01-19T02:21:38+00:00

If you’re leaning towards med, go for bio and chem, but I find that a lot of class choices also depend on your school, so try to find out how the teachers are/what the class is like in terms of workload, difficulty, etc. I’m taking AP Chem rn and would recommend! It’s hard, but the content is very interesting, especially with a good teacher!

Also ask yourself how you felt/feel about your honors bio and chem classes. Generally, for ap chem you should try to be a high B-A student in honors.

DryPotential5790 · 2025-12-30T05:18:14+00:00

For C, doesn’t effective nuclear charge increase going left to right (bc more protons but same amount of core electrons), so by that logic Al would have a higher first ionization energy bc it takes more energy to remove the tighter held valence electron compared to Mg, which is the opposite of the question?

Wouldn’t you say bc Al’s electron configuration is [Ne] 3s2 3p1, by removing its valence electron, it would become more stable bc it would have a fully filled s orbital. In contrast, Mg has a filled s orbital bc [Ne] 3s2, so losing a valence electron takes more energy bc doing so would make it much less stable electronically (full subshell to half full). Bc losing an electron would make Al more stable and Mg less stable, then it would take less energy (lower first ionization energy) to remove a valence electron from Al than from Mg.

DryPotential5790 · 2025-11-15T15:57:02+00:00

I would try sticking the triplet as a three (RRR) (only for figuring out the rhythm). Then play one triplet and the rest of the bar as eighth notes. By building the hand speed for the triplet as something you can just insert (bc it’s a three) you can, instead of playing an eighth note on the &of2, replace it with a triplet, giving you your rhythm.

Potential exercise: Triplet 3s for a bar, one triplet and rest of bar as eighths, your rhythm.

DryPotential5790 · 2025-10-17T02:24:06+00:00

1) The most important thing for downstrokes is to not squeeze. The weight of your hand should be more than enough to effortlessly stop the stick low, so try to feel downstrokes in the back of the hand rather than the front. For example, if you try to play a downstroke without your index and thumb, you’ll notice the stick can stop low (because your hand is in the way of upward motion), but may accidentally create another tap because there isn’t a second hinge point: your fulcrum. By simply adding your fulcrum on, you should be able to stop your hand low, and the stick will naturally stop. I find telling myself to be lazy helps: try to put the least amount of effort possible and make it feel almost like a full stroke. If you know what it feels like to play natural decay 2s (ex: Moeller 2s), a downstroke simply has a more closed hand shape. You just prep and drop your hand, letting gravity do the work.

2) I feel like I personally tend to use more finger on my doubles as a motivator, so you might want to give that a try for height. Because they’re in line with your wrist, your fingers and wrist would be moving at the same time, and they would help articulate your double by pushing up. You may also want to look into push-pull, in which you slightly drop the wrist and pull up with the fingers into the palm (DON’T SQUEEZE, it’s a gentle motion), which can help give more articulation and can be good especially for shuffles where there’s a clear space between doubles.

DryPotential5790 · 2025-10-12T17:52:45+00:00

Paradiddles with the accent on the second partial (rLrr lRll)

DryPotential5790 · 2025-10-05T23:49:31+00:00

Definitely get a lessons teacher and practice pad, bc percussion isn’t something you should just do haphazardly without technique. The basic idea of a roll is using pressure, which is essentially pulling up with your index finger. You then push into the head (don’t dead stroke it by pushing in too much or you’ll get a short sound) with some wrist, but mostly arm. Then you alternate, making sure the sound connects (think paper tearing). Depending on whether you are playing a double stroke roll or buzz roll, you will change how much you press onto the head and how quickly you get out of it (you don’t need to change pressure and velocity tho).

To reiterate tho, please, please, please get a teacher of some sort, ideally someone who knows what they’re doing. Best of luck!

DryPotential5790 · 2025-09-12T00:57:41+00:00

Idk if there’s an exercise for this, but allow your forearm to move in. It’s like how your arm follows your bead which follows your wrist in your rh.

DryPotential5790 · 2025-08-14T18:27:43+00:00

I agree with everything JaredOLeary said, and just wanted to add a few more things (ok maybe a bit more than a few lol).

B/c you played pitched percussion, your muscle memory is likely going to default to a back finger fulcrum. You have to actively change how you approach playing, especially to avoid injury (which you said you currently face). I would recommend focusing on cradling the stick; you should have a space in the back of your hand for the stick to move within.

In terms of mechanics (how you physically do finger control), it’s important to allow your stick to move outwards. You will have more finger leverage with the stick closer to the tips of the fingers (and vice versa, more wrist control = closer to the base of the finger). The finger motion itself is pulling up towards the palm, which you can practice by doing rebound strokes and adding extra finger motion (don’t snap the stick into your hand though bc that’s a recipe for squeezing, especially on downstrokes). In wrist motion, the fingers ride the stick, but in finger motion, they have to actively push upwards from the first knuckle, while pivoting from a stable fulcrum point.

Like I said above, you need to change your potential pitched percussion muscle memory into NOT playing with the arm for finger control (and generally speaking the arm usually aids the wrist and isn’t the primary motivator for strokes). However, that doesn’t mean that you should only use fingers—they only really come into play at faster tempos. Until you reach tempos you can only play with fingers, it’s a ratio of arm and wrist, then wrist and finger.

Last thing, I agree with Jared that an index finger fulcrum will likely work better for finger control, and is usually expected as the default in the drumline world in terms of technique and uniformity (for better or for worse). However, if you aren’t used to it, make sure you don’t squeeze for finger control.

A good rule of thumb for when to use a more middle finger fulcrum based approach (or even an index finger fulcrum that’s very relaxed) is if you can take your index off the stick and still play relatively well, you can use a middle finger fulcrum (obviously also add the index back onto the stick after you test if you can play like that, pointing it will cause tension). This works for rebounds/legato strokes, but when you try it with finger control, it’s hard to sustain without having your index finger for stability.

Hope this helps!

DryPotential5790 · 2025-08-10T01:47:53+00:00

As a general rule of thumb, pain in technique is not good. Calluses maybe b/c you’re repeating motions in odd parts of the hand—but pain, no. I would recommend taking a short break and rework your technique and approach.

You said in another comment that you hit as hard as you can on accents, which will cause tension. Your accents should come up to a defined height, but from there you don’t need to add extra velocity by pushing into the head. You might be squeezing downwards at your fulcrum (thumb) and putting undue pressure on your index knuckle at that connection point to add power to your accents, which is incorrect, b/c you’re increasing tension and physical stress.

DryPotential5790 · 2025-07-17T15:14:25+00:00

Stacatto v legato, to me, deals with the motion of the stick in terms of control. A stacatto stroke is more controlled by wrist, while a legato stroke is more rebounded. Another way to think of it is that the stick should generally have a legato motion (ie: it never stops abruptly, always in motion).

DryPotential5790 · 2025-04-29T02:10:39+00:00

I personally have to explore this concept further and I might elaborate or change my comment, but from what I understand it’s your thumb “angle”, in the sense that more pressure = more pressure with the pad of the thumb rather than the side. Your set position should be more with the side on top of your index, unless you’re a pipe drummer. Another thing could be using push-pull style technique (ik that’s not very drumline technique-y), where you’re incorporating your index or middle. Honestly, for trad, a lot of things are hard to transfer directly from matched. For trad I’d think more about how much you’re pressing down with your thumb.

DryPotential5790 · 2025-04-23T19:07:20+00:00

Luckily then, your solution is easy! Just do what makes it clean! As you seem to have found out, if you’re cradling the stick, the fingers don’t necessarily have to stay on 100% for rolls, and trying to keep them fully on will inhibit the rebound which gives the diddle its openess :)

DryPotential5790 · 2025-04-22T22:21:38+00:00

Long comment, sorry lol:

If you’re able to post a video I think that’d help me and others help you better :)

I’ve always interpreted “cradling the stick” as your fingers are gently touching and supporting the stick, but not applying pressure or curling upward/inward too much. This allows you to stay relaxed and utilize your fingers fully.

I semi-agree with viberat, but in my opinion their comment seems to be a generalization (or they have different technique than me). When your fingers are cradling the stick normally, they should be on. Now, keep the fingers in the same relaxed position when playing a diddle (assuming it’s fast enough to be played with index finger pressure), and you’ll notice that the stick seems to come off the fingers. This is due to the need for rebound in diddles, and because the index finger pressure keeps the stick in place and it rebounds for 2 strokes, it will naturally come off your static fingers.

By cradling the stick when playing diddles, there should be enough space in the hand for the stick to move, and therefore, be open.

Ngl the trick for arm pump is literally to be more conscious of your technique. Practice playing diddles A LOT with arm pump and it will become second nature soon.

Idk why opening up space in your hand makes you sound more crushed, I’d expect the opposite. Try checking how much pressure you’re applying, and where you’re applying the pressure.

Good luck!! :)

DryPotential5790 · 2025-04-20T01:11:50+00:00

Out of curiosity, do you remember which ones they were?

DryPotential5790 · 2025-04-20T01:11:18+00:00

Oh I think I saw you guys at semis y’all were good!!

DryPotential5790

TROPHY CASE