INPUT ARTICLE: Article: For a small window, you may only need one curtain to cover the whole thing. However, if you're covering a larger window, you may want two curtains that part in the middle. For an extra-large window, you may want to consider multiple curtain panels. When you're taking your widthwise measurements, be sure to divide the final number by the number of panels you want before cutting your fabric. For instance, if you need 30 feet (9.1m) to cover a window and you want three separate panels, each panel must be 10 feet (3m) wide (30 3 = 10). You have a lot of choice when it comes to choosing fabrics for curtains, but you should take into account what kind of effect you want to achieve. For instance: To add a bit of privacy without blocking out too much light, choose a lighter weight material that has some transparency, such as voile or linen. To block out light or drafts, choose a heavier material, such as velvet, corduroy, tapestry, or damask. For an ultra-lightweight curtain in areas where you don't need privacy, try lace, chiffon, or organza.

SUMMARY: Decide how many curtains you need. Choose a fabric.

INPUT ARTICLE: Article: If you're simply transposing the music to make it easier for the musician to play on their instrument, the transposition process is the same as if you were transposing the music for a vocalist. Some songs are easier to play on some instruments in one key than in another. Beginner musicians often can play more complex songs if they are transposed to an easier key. If you are playing with a musician who plays a "transposing instrument," however, the process is a little bit different. Transposing instruments are those such as the clarinet, for which a C would sound like a B-flat when played. If you're transposing a song for a transposing instrument, the key of the instrument will tell you how many steps up or down you need to transpose the song. Your interval is the number of steps between the original key of the song and the key of the transposing instrument. For example, if you have a song written in C that you need to transpose for a B-flat clarinet, you would need to move all the notes up a whole step, since B-flat is a whole step down from C. You also can use a transposition chart, that will tell you exactly what transposition you need if you want the song to sound right on transposing instruments. Now that you know the interval you need, all the notes in the song must be moved the same interval. Mark any sharps or flats not part of the key signature so you can come back to them. Move accidentals up or down from the same tone the note would have had in the original key signature. For example, if the song has a C-sharp and C is normally natural in that song's original key, you want to transpose from natural C. With all the notes moved and no accidentals, you should be able to work out what key the song is now in. If you're not strong on your keys yet, there are charts available online that will tell you. If you're working on sheet music, you'll want to note your key signature at the beginning of the song. Now that the entire song is transposed in the new key, you'll need to also move up any sharps or flats that appeared in the song and weren't part of the key signature. Go back to the original song and find the accidentals. Work out how far the accidental moved the note from where it normally would be in the original key signature. For example, if your song has a C-sharp and C is normally natural in that song's original key, the accidental has moved the note a half-step. Find that note on your transposed song and move it up a half-step as well, marking the accidental accordingly. If you've transposed the song correctly, when it is played on the transposing instrument it will sound exactly the same as when it is played on a different instrument.

SUMMARY: Determine the reason to transpose the music. Identify the instrument's key. Move the notes up or down. Find the new key for the song. Fix your accidentals. Listen to the song played on the transposing instrument.

INPUT ARTICLE: Article: Stand with your feet shoulder width apart. If you are right-handed, shift the left side of your body forward towards the bag and lift the heel of your right foot. If you are left-handed, shift the right side of your body forwards towards the bag and lift the heel of your left foot. Maintain a slight bent in the knees. Pull your hands up towards your face while keeping your shoulders and elbows down. When completing drills, you will not remain static in the starting stance. You will circle the bag. Walk around the bag--don't jump or cross your feet. Keep a slight bend in the knees and your hands up by your face. The key to a safe and effective heavy bag workout is to hit the bag, not push the bag. Instead of throwing a pushing punch--meaning you are attempting to push your hand all the way through your target--you should throw snap punches while training.Snap punches allow you to conserve energy while hitting harder and moving faster. When throwing a snap punch, your wrist will snap back from the impact of hitting the bag. Assume the starting stance. Make a fist, placing the thumb on the outside of your hand. If you are right-handed, extend your left arm forward; if you are left-handed, extend your right arm forward. As you extend, keep your wrist straight and your elbow slightly bent. Draw the arm back to the starting position. You will throw the cross with your power hand--your dominant hand. Assume the starting position. Pivot on the heel of your dominant foot and rotate the leg and the hip. As you rotate, extend your arm. Your dominant arm should retain a slight bent at the elbow. Keep the opposite hand near your face for protection. Draw the arm, hip, leg, and heel back to the starting position. Assume the starting stance. Pivot on the heel of your non-dominant foot. Turn through the leg and hip. As you pivot, extend your non-dominant arm horizontally across your body. Elevate your elbow slightly. Hold your dominant hand near your face for protection. Draw the arm back to the starting position. The 1-2 combo is a series of two linked punches. First, through the jab. Immediately after returning to the starting stance, throw a cross. Draw the arm back to the starting position. The 1-2-3 combo is a series of three linked punches. Like the 1-2 combo, you will first throw a jab. This will be followed by a hook. The last punch in the series is a cross.

SUMMARY:
Master the stance. Learn the walk. Hit the bag properly. Practice the jab. Try the cross. Master the hook. Try the 1-2 Combo. Learn the 1-2-3 Combo.