Perform large pirouettes. The Sims FreePlay walkthrough: hacking, money, secrets and questions

A properly executed pirouette is beautiful - perfect collection, momentum, flexibility, strength and balance. The canter is one of the most physically challenging movements we can ask our horse to perform. This is a test of the trainer's ability to develop the horse's self-carrying ability into a partner who listens and hears the rider and responds correctly to the aids, a horse that is focused but not tense, and whose movements are filled with power and expression,

Before we ask the horse to perform a more difficult pirouette in the canter, it is logical and correct to teach him to perform a pirouette in the walk. Let's start with a 1/4 pirouette, then 1/2, then 3/4, and eventually we'll do a full pirouette.

A good pirouette is light, fluid and harmonious. It requires flexibility, strength and balance.

According to Article 413 of the FEI Dressage Manual, “A pirouette (half-pirouette) is a turn of three hundred sixty (360) degrees (one hundred eighty (180) degrees) performed in two (2) tracks, with a radius equal to the length of the horse, in which the horse's front legs move around her back legs."

In order for a horse to perform a pirouette that matches this description, certain conditions must be met.

First of all, it is important to understand what a pirouette is, in addition to the fact that it is a movement covered by a number of tests.

Pirouettes belong to the "family" of lateral movements along with shoulder-out, shoulder-in, half-pass, traverse and renvers. All of these movements, when used consciously, can allow the rider to develop, improve or rehabilitate his horse physically: relaxing, softening, straightening, improving the rhythm and quality of gaits and the overall posture of the horse.

Lateral work allows you to highlight individual limbs, muscles and joints of the horse. We can ask one hind leg of the horse to bend more and take more weight. This allows us to work on the rhythm and quality of movements. We can relax tight and blocked lumbosacral (pelvic) and hip joints to help the horse collect more easily. We can stretch the topline so that the horse can lower his croup, flex all the joints of his back and hind legs, engage his abdominal muscles, lift the base of his neck and lighten his forehand.

Working on lateral movements can help us gently release tight abdominal muscles and increase the freedom and range of motion of our horse's shoulders, allowing him to lift up at the withers and freely work his chest without being pinned between tight shoulders.

Lateral movements allow us to move the unaligned horse's center of gravity back between his shoulders and, very importantly, they give us the opportunity to continue to improve the diagonal movement of the horse's limbs.

I work on my lateral movements daily. 1/4 pirouette it becomes an exercise whereby I test the horse's conductivity, responsiveness to the aids, flexibility and independent balance.

When I ask my horse to do a slow 1/4 pirouette, it also helps me reconnect the brain to his forelimbs and hindlimbs. A 1/4 pirouette alerts me that the horse may have neurological problems.

Relaxation and evenness

During a walk pirouette, the horse's body is harmoniously bent in the direction of the turn from ears to tail. The horse should not be overbent or twisted: the neck is arched in one direction and the hindquarters in another. This requires a certain degree of flexibility from the horse, his muscles must be elastic enough to allow stretch on the outside and contraction on the inside.

If the horse is stiff and its muscles are stiff, this will disrupt the normal functioning of the entire spine and all joints of the horse's body. The tendons and ligaments will be tight and the horse will not be able to flex well in the longitudinal direction, flex well the joints of his supporting inside hind leg and open the joints of the outside hind leg that steps in front of the inside leg.

If the rider insists, the horse will hate pirouettes and will be at risk for hind limb tendon injuries, croup muscle pain, hamstring, abdominal and pectoral muscle pain, and possible skeletal problems in the pelvis.

The horse must already have a certain degree of straightness or symmetry in its body. Before we ask her to pirouette, she must be able to bear weight evenly on all four legs, lower her croup, and collect herself. To keep your horse healthy, you should not begin pirouettes before he can carry himself, bend evenly, and walk with rhythm and regularity.

This need for bending and evenness or straightness is why we only move on to learning pirouettes after the horse has already been trained in lateral movements and can perform good shoulder-in, half-passes and traverses.

Strength and Balance

A pirouette, even at a walk, requires a certain level of physical development from the horse.

As the horse's front legs and outside hind leg move around the inside hind leg, the horse's inside hind leg functions as a support point. The supporting leg should not get stuck in the ground and the horse should not spin around it! As the name suggests, this is a pirouette on step by step- The inside hind leg should remain active, rising and falling in the same place with the same rhythm of clear walking, as if the horse were walking forward. The hind legs should move in as small a circle as possible, while the front legs move along the outer perimeter of the pirouette's radius.

The horse should bend laterally and remain in perfect balance, raising his forehand and lowering his hindquarters, placing more weight on his inside hind leg. The joints of its support leg must flex well to support the extra weight that has shifted to the horse's hindquarters, as well as the weight of the rider.

The horse must have the physical strength and muscular control to take each step clearly and deliberately, remaining balanced and connected throughout the movement, on the bit, nose in front of the vertical, and poll at the highest point.

Precision and geometry

The need for balance, strength and self-carrying ability is also important when we talk about the structure and size of a pirouette. The horse must enter and exit the pirouette on the same line, entering and exiting at the same point. The transition to a bend should be smooth, fluid, without a break in the rhythm. The number of steps in a pirouette is from 6 to 8, and they must be clear and regular.

Good and clear rhythm

From the very beginning, whether I'm doing a 1/3, 1/2, 3/4 or full pirouette or even a canter pirouette, I pay special attention to my horse's rhythm and a clear four-beat stride (or three-beat canter).

The most important thing in dressage is the purity of the gaits, so I am very careful not to disturb my horse's gaits by asking him to do work that he is not ready for.

Refinement and attentiveness

To perform a good, non-threatening canter pirouette, the horse must be flexible and strong, but also remain focused and listen to the rider's lightest aids. The same applies to walking pirouettes.

We ask that our horse be “with us,” that he cooperate with us every step of the way. This is necessary so that the pirouettes look light and lively, and not tense and tight.

As for the rider, he must understand the movement before asking the horse to perform it. He must be balanced, able to use his controls clearly and sit straight and centered in the saddle without twisting. He must be able to create a bend, control the horse's shoulders and hind legs, and slow or speed them up without blocking the horse, putting him on his front balance or confusing him with his actions.

When can you introduce your horse to walk pirouettes?

I start teaching the horse pirouettes at the walk when he already knows how to perform lateral movements. I start with a walk and work in the direction that is more comfortable for the horse, in which it is easier for him to bend.

I pay attention to my horse's general posture and his physical and mental state: is he tense or relaxed, nervous, calm, etc.

I ride the horse keeping a soft contact on the two reins, allowing him to place his nose slightly in front of the vertical. I pay attention to how the horse reacts to my request for a 1/4, 1/2 or full pirouette. What's happening to her chest? I feel her heartbeat and breathing with my seat and thighs, look at how she holds her neck and head, listen to the contact with her mouth in my hands. Does the horse remain confident or not, does the horse move, can he carry himself and maintain collection throughout the entire pirouette? I try to feel if the horse is stiff, if his rhythm is stable or not, if he is working to carry himself and bend.

I adjust the training process according to the circumstances, but I try never to overload the horse.If my horse is having problems, I know to step back and evaluate his straightness, flexibility, fitness, lateral movement skills, and whether he is ready to pirouette.

I check the following:

T whether the horse loses balance or cadence, starts moving on the forehand, stands still, or hurries but loses momentum.
It is curved and loads one shoulder more than the other.
She takes long steps with her hind limbs.
It spins on the supporting leg, steps back, or remains “glued” to the ground.
Her front freezes.
She can't get out of the pirouette and turns too much.
Her butt jumps, her two hind legs make one jump at the same time without stepping over.
The horse loses power during the pirouette and comes to a complete stop.
She comes out of the pirouette crookedly.
The pirouette turns into a large circle.

These are all symptoms that either my horse is not ready or I am doing something wrong.

If I ignore these signs and continue to do the same incorrect work, the horse will become increasingly embarrassed. She will lose interest and confidence and become bored. The pirouettes will remain incorrect and will not gain expressiveness and beauty.

How to introduce a horse to pirouettes?

There are various ways to introduce a horse to pirouettes at the walk. Some riders ask the horse to turn on his hindquarters and then make it smaller and smaller. Sometimes the term "turn" on the hindquarters is used to describe a pirouette. This is not entirely correct. A turn on the hindquarters differs from a pirouette in two ways: it is performed at a slow, medium pace rather than at a collected pace, and the horse's hind legs move in a wider circle. At the same time, during a pirouette at a walk, the horse's inside hind leg rises and falls at one point.

I don't use this method. My experience tells me that teaching such a pirouette interferes with the formation and formation of the correct bend of the horse's body. The horse goes into motion without waiting for instructions and without understanding the flexion that we ask of him. As a result, the horse resists.

The pirouette can be taught by asking hip-in on a 10-meter volt. I don't use this method either because it is not suitable if you are working with a young or inexperienced horse (below intermediate/level 3). They can't bend and make a ruling on 10 meter volts for as long as necessary. This is too low a volt, and working on it places too many demands on the horse. This exercise can be adapted by taking breaks that break up the 10m volt, but even then it should only be used with a horse that has extensive experience with lateral movements.

I prefer to keep the training simple and as comfortable as possible for the horse.

Before I start working on pirouettes, as mentioned earlier, I try to make sure that the horse has good lateral movements, in particular traverses.

I like to use traverses because they can easily teach the horse to move in the same direction as his stance and body bend. To start, I may ask for just a few steps at a walk, trot or canter without overexerting the horse. This is a prelude to what I will ask her to do during the half passes and pirouettes.

When performing a traverse, I bend the horse so that its front is under the wall, and its hind is shifted to the second line of the track, inside the arena. I make sure the horse's outside hind leg crosses the inside hind leg and steps into the footprint of the inside front leg. This increases the connection of the inside hind leg, causing the joints to flex more deeply and bear more weight.

If the horse is inexperienced, I ask for this movement when turning into a corner from the short wall to the long wall. As the horse begins to understand this part of the task, I can ask him to take a few steps of the traverse, level it, and do a few more steps of the traverse without needing the angle to set up the movement.

When the horse traverses freely, I'm ready to start working on pirouettes.

I like to use driving around the square. If I want, I can turn the corners of the square into 1/4, 1/2, 3/4 or full pirouettes. I can ride in a circle, just going around the corners - it all depends on how my horse feels. I use the square not only to teach a horse to pirouette at a walk from scratch, but also when I need to retrain a horse that is already doing pirouettes, but of poor quality or incorrectly.

I begin to ride around the arena and warm up the horse. Then, at a good active (but not too much) pace, I turn onto the long wall of the arena and ask for a couple of steps to traverse.

Then I level the horse and ride straight, then again a few steps of traverse, again straight and so on until the next corner.

The traverse helps prepare the horse for the pirouette as it improves the crossing of the outside hind leg and the engagement of the inside hind leg - it must bear more weight and its joints must flex more deeply.

I turn into a corner onto a short wall, go straight and do a square corner to the right, go straight, do another square corner to the right, go straight, slow down, turn right, but still don't ask for a pirouette - keep going straight. On the next turn I slow down and ask for a quarter pirouette, checking that the outside hind leg is stepping well under and in front of the inside. Then I go straight, do a square corner without asking for anything, then straight again, and at the next corner I ask for a quarter pirouette again.

I look closely to see if the horse can hear me. I go straight and don't ask for a pirouette, but in the next corner I'll ask for a 1/2 pirouette. I return to the long wall of the arena and ask the horse to perform a traverse at a walk, but not too steep.

I change my pace. Sometimes it's a working step, sometimes it's a more collected step. I ask the horse to slow down and do a quarter pirouette again and then ask for a half pirouette.

I change the size of the pirouettes because I am training, not performing, and I need to develop the horse's flexibility, willingness to follow commands and attentiveness. My pirouettes can be a little more or less than 3 meters and it doesn't bother me. I don't train, but liberate the horse.

I don't want my horse to have to anticipate and fight what's coming next. I constantly listen to what her body is telling me. Her chest under my leg…. Is she tense or relaxed? Does the horse struggle to bend or bear weight on the inside hind leg or is it easy for him? How are things going with the contact? Is her mouth soft or is she putting her jaw up and blocking it and the back of her head? If she tells me that today I'm asking for too much bending, I'll ask for less.

If my horse is comfortable doing 1/4 and 1/2 pirouettes, I will ask for 3/4 and then a full pirouette. If I feel that he is struggling, I will not try to correct the pirouette as he goes - I will come out of the pirouette and lift the horse into a canter, sit in a light seat, and allow the horse to stretch forward and down to release and relax all his long muscles.

For the rest of the workout, I can work on something else or go back to pirouette later. Whatever I choose, I know that I can return to my “square” at any time.

Controls

To perform a pirouette, if I turn to the right, I sit in the center of the saddle, but because my body mirrors my horse, my weight shifts slightly to the right, in the direction of travel, inward bend.

In this direction, my horse's supporting leg is his right hind leg.

My right leg is at the girth to control the horse's activity and flexion. The left leg rests slightly behind the girth, preventing the horse's hindquarters from falling out, pushing the outside hind leg and encouraging him to step in front of the inside supporting hind leg.

The leg pressure is pulsating, I am not tapping or pressing on the horse, and I am remembering to use the walking aids. My seat is relaxed, as is every part of my leg—hips, legs, ankles, heels, and toes.

My body is turned slightly from the waist to mirror the curve of the horse's body. My outside hand controls the horse's flexion, my inside (right) hand opens slightly to guide the horse toward the turn. My hands follow the movement of the horse's neck and head. My shoulders, arms and hands work together, and as my body turns slightly to match the turn of the horse's shoulders, my own shoulders mirror it.

My outside rein is near the horse's neck, but it is not short or tight. The inside rein guides the horse through the turn, but it is not long and does not sag. I maintain gentle contact with the horse's mouth.

As I walk in a straight line, entering and exiting the pirouette, I continue to follow the horse's movement and ride his every step.

Entering and exiting the pirouette is just as important as the pirouette itself, especially the exit. It is important to prepare the horse so that when he straightens from bending, his rhythm, balance and activity remain unchanged.

Sometimes the horse anticipates the end of the pirouette and begins to take long steps with its hind legs, trying to quickly complete the movement. She may be in a hurry or lose strength or lose her rhythm. If this happens, I check the size of the pirouette and the amount of curl I'm asking for. Perhaps the horse is not ready for this today.

I do a larger pirouette and if that doesn't work I go back to working on 1/4 or 1/2 pirouette, focus on clear strides and balance, then let the horse rest and try the pirouette again.

Pirouettes are hard work for the horse, I don't want to teach the horse to be afraid of them.

Common Rider Mistakes

Sometimes I see riders who get stuck and forget to follow each step and follow the horse with their seat and hands. They tense and lock the horse, pulling on the outside rein and pulling on the inside, trying to create a bend instead of using their seat and legs to guide the horse and position him correctly. This creates the effect of an inward curling neck rather than a harmonious curve from ears to tail. They sit on the outside of the turn with their torso and shoulders turned outward - resulting in the horse showing insufficient or incorrect bending during a pirouette.

If the rider does not use his legs correctly to create and maintain bend and momentum, the horse loses energy and the pirouette simply becomes nothing.

If the rider bends too much, it may be difficult for him to come out of the pirouette in time. The rider may also make the pirouette rush, which is very common. The horse simply spins and comes out of the pirouette, losing balance and on the forehand, he is not carrying himself.

This creates confusion, confuses and upsets the horse. Subsequently, she will most likely have to be retrained.

A learning rider may become overwhelmed and confused when learning to pirouette. There are so many elements that he must put together: pattern, precision, collection, rhythm. Here, tips for training a horse can also be applied to the rider: break the learning process into pieces, take your time, take steps back if something doesn’t work out for you. Be prepared for the fact that it will take you a long time to learn how to perform high-quality and good pirouettes!

Illustrations

Introduction to working on the step pirouette: Traverse; Square corner.Preparing for a pirouette at a step.

The rider uses the angle to prepare the horse for the traverse. He uses traverses as a preparatory exercise before pirouettes.

We make the traverse in three tracks, not four. The horse's shoulders are against the wall of the arena. Her hind limbs are slightly shifted towards the inside of the arena. The outside hind leg (at the wall) steps into the hoof print of the inside front leg.

If you need to relearn a pirouette, you can ride in a square, the corners of which can be turned into 1/4, 1/2/, 3/4 or full pirouettes (optional), or ride in a circle, making corners. It all depends on how the horse responds. Here the couple prepares for a simple twist.

Square turn. The horse's outside hind leg does not cross the front hind leg. Correct riding of simple turns or square turns along with work on lateral movements is preparation before pirouettes. First of all, you must teach your horse to bend evenly through his entire body.

Simple turns, square or round, are very important. We don't want the horse to expect every corner and turn to be turned into a pirouette. A simple or square turn allows us to teach the horse to make the correct stance and bend in the neck and body while maintaining the correct rhythm. An inexperienced horse will learn to slow down without losing rhythm when bending.

Pay attention to the alignment. The horse is evenly bent from ears to tail. The rider sits in the middle, mirroring the horse's shoulders and flexion. His body rotates to the left from the waist. He DOES NOT bend at the waist. As a result of this position, a little more of its weight is shifted towards the inside of the bend. His inside (left) shoulder is slightly behind and his outside (right) shoulder is slightly in front. The outside (right) leg rests slightly behind the girth, preventing the horse from throwing his hindquarters outward and encouraging the outside (right) hind leg to step in front of the inside (left) leg, which is the support leg.

The rider performs a pirouette to the right. The contact on the outside (left) rein is light but stable. The outside rein controls the amount of flexion of the horse's neck, while the inside rein, opening, guides the horse into the turn. Pay attention to the horse's ears - he is listening to the rider's signals, and his mouth is softly closed - the noseband is adjusted correctly, not too tight.

Look at the horse's legs. Here she crosses the inside (left) hind leg in front with her outside (right) hind leg. In the next two pictures she crosses her front outside (right) leg with her inside (left) front leg in front. Notice the horse's calm and balance: his left ear remains perfectly vertical as he turns, his tail swinging gently from one hock to the other.

In this step, the horse's inside front shoulder comes back and drops, and his outside shoulder lifts slightly to allow the outside front leg to step in front of the inside front leg. Notice how the rider's body mirrors the horse's body. The inner shoulder is lowered, the outer shoulder is raised up and forward.

Front view: pirouette to the right. The rider's inside leg is at the girth. The rider mirrors the horse's curve with his body. You can clearly see how the horse's left front and hind legs step, crossing in front of the right front and hind legs respectively.

Caroline Larouilh;translation

I think everyone understands what The Sims FreePlay is about. Only the lazy haven’t heard of The Sims series, so you shouldn’t be surprised at the presence of a version for mobile platforms. The Sims FreePlay, despite its simple gameplay, is a game with a lot of features that raise a lot of questions. In this article I would like to talk about how to getTheSimsFreePlay: hacking, secrets and questions.

The Sims FreePlay hack (how to hack, hack), money

So, how to hackSimsFreePlay:

download the archive.
we throw the files in the archive using iFunbox(connect your unit via a cable to the computer) here: var/mobile/applications (Applications from the App Store)/FreePlay/
ready.

What will come of this:

much money;
a lot of crystals.

Hacked version for Android

SimsFreePlaysecrets

Q. Is there SimsFreeplayin Russian?

A. Yes, the game has been translated into Russian.

Q: Do I need constant access to the Internet to play?

A: Only to make an entrance. Afterwards the Internet is not needed.

Q: What the SimsFreeplay5002 error?

A: Error 5002 indicates that your device's resolution is not supported by the game. To solve this problem, first try updating the game and firmware of your device to the latest version. If this does not help, try contacting technical support or posting information about your problem here: https://firemonkeyszendesk com communities public questions /200458210- What the error -5002-

Q: What should I do to SimsFreeplayFriends appeared?

A: Click on any other character and click on the “Be Funny” tab. And we repeat this until he becomes our friend.

Q: How to make children?

A: We buy a cradle and click on it.

Q: How to get a pet?

A: We build a pet store and buy whoever we want for crystals.

Q: As in SimsFreeplaytake a ride in a car?

A: We buy a car at a car dealership. It will immediately appear near the home of the Sim who purchased it.

Q: Do children grow?

A: No, only from baby to schoolchild, you need to buy a birthday cake.

Q: How do I move my family to a new home?

A: Build a new house, scroll through the action selection and select "Relocate Family".

Q: How to build a swimming pool?

A: In the store, click on “Garden” and build a pool as a room. It can only be built from level 20.

Q: Where in SimsFreeplaychaise lounge find?

A: There is a task in the game “Reflect on a Deckchair”. It confuses many people, since there is no sun lounger anywhere. And he is not needed. We buy any chair, sit on it and press to think. Ready!

IN: How to make ice cream?

A: Ice cream is made on the stovetop. To make chocolate ice cream, click “Rough Road”

B. As in SimsFreeplayto sleep deeply?

A. Cat style - 20 minutes. Sleeping soundly in bed means sleep in your own home will not last long. Sleeping in another Sim's house is a long sleep of 6-8 hours. Get enough sleep - a dream that lasts 1 day, then your character will definitely get enough sleep.

Q. How to catch ghosts?

A. We buy a skeleton and click on it. There will be a menu there.

Q. How do I dress up my character?

A. We buy a wardrobe in the “Bedroom” section and click “view clothes”

IN. SimsFreeplayhow to inspire a character?

A. Complete all need scales.

Q. Where can I buy it? coffee table inSimsFreeplay?

A. In the “Living Room” section, rectangular tables.

Q. How to give a fake handshake?

A. This requires an enemy. Clicking on it will create a “fake handshake”.

Q. How to get married?

A. Fall in love, get engaged and get married. But to do this, you need to give the character an eternity ring.

Q. How to do a triple drunken somersault?

A. We go to the pool and do springboard jumps there until the corresponding medal appears.

Q. How to achieve nirvana?

A. You can achieve nirvana in the park

Q. How to start your own business?

A. Build a building in which something is sold

Q. Where can I find a fashion studio?

A. At the hobby store. In the atelier you can create clothes, for example, red sopagi.

Q. Where is the community center located?

A. On the second floor of the ballet school.

Q. Where can I find a fire pole?

A. This is a pole that stands near the stairs between floors. If you can’t afford such a ladder, look to your neighbors.

IN. SimsFreeplay teenagers. How to do it?

A. A student turns into a teenager at level 23 by completing the “Coming of Age” task.

Q. How can I get a free player?

A. Firstly, it is not free, but costs $750. He himself is in the section for teenagers.

IN. Money tree in Sims Freeplay. How to grow?

A. We bring the character to the garden and click on “plant a money tree.”

If you have any questions, ask in the comments. But remember that almost all objects can be touched. Click everywhere if you are completely desperate and don’t know how to complete a task.

For Android and iOS devices, created on the same principle as The Sims, but, unlike other games in this series, The Sims FreePlay is in real time.

The point of The Sims FreePlay is to create your own town, fill it with completely different characters and develop relationships between them, all this - right from your device! In the game you can reach level 52 and create 31 Sims.

How to play Sims FreePlay?

Complete the tasks offered by the game
In order to control Sims you need to select a character through the menu, click on the required place and select an action from the proposed menu

How to download and install the Sims Free Play game?

You can download the game for free!

Let's go to androidmarket(in the list of programs it is Play Store) or App Srore.
In the search bar enter Sims Free Play
In the list that appears, select the game and click install.

The developers regularly add updates to the market for this game, which contain new tasks to complete.

You need to update the Sims Free Play game in the same market, where instead of the icon install you will have update.

The graphics in the game are excellent, realistic, life is exciting.

General information about the Sims FreePlay game

Tips on how to complete tasks in the game Sims Free Play?

You need to complete the Sims FreePlay game by completing game tasks that will bring additional profit and also tell you what to do next.

There are three types of tasks:

Single tasks performed in your city. To complete them, you need to perform one action. For completing such tasks, you will be rewarded with Simoleons, experience or lifestyle points ( SJ). Since version 5.0.0, for completing a certain number of such tasks per week you will receive keys to prize boxes.
Groups of tasks performed in your city, for example: “Path to Glory”, “Mysterious Island”, “Coming of Age”, “Higher Education”, “Great Ghost Escape”. Such tasks consist of several single tasks. After completing a group of tasks, you will get the opportunity to build a new building (a bridge to a mysterious island, a high school), raise a schoolboy into a teenager or another special award.
Single-player missions performed in your neighbors' city for which they give communication points.

There are tasks in which there seems to be no logic and no matter what we try, nothing changes. What to do in such cases? Where to look for tips? Of course, other Sims Free Play players can give you some advice, and you can also find the answer on this page!

Hint for completing a task in Sims FreePlaytaunt another character:

Each task in the Sims Free game has some kind of hint on how to complete it. By the way, the mock task is to mock.

Clue after completing the task, taunt another character: Pay attention to the category adulthood.

Answer: A teenager should be funny in front of a teenager.

Hints for completing the task Sims Free Play have a baby:

We bought a cradle, clicked on it, spent 3 cents, waited, and baby appeared on the floor! What to do?

Clue how to lift a child from the floor: Maybe something is wrong with the cradle?

Answer: The baby is on the floor because the cradle is not positioned correctly (for example, against the wall). It is necessary to place the cradle correctly and drag it (in the same way as the furniture) into the cradle. You can also drag it onto the child and he will be in it.

Hints on how to complete the task Sims Free Play relax on an inflatable chair:

Clue After completing the task, relax on an inflatable chair: Pay attention to pool water color.

Answer: Neither you nor your Sim can relax in a dirty pool! Clean the pool!

Secrets of the sims freeplay:

some players don't understand why brown circles appear on the grass and rooms))) Do you think this is a way to get bonuses by removing this? No! Shake your phone or tablet less! Sims are sick of this!)))
Many players complain that it is not possible to scroll through the game time. Sometimes you have to wait long and tediously for the completion of a certain stage. No! Sometimes you don't have to wait! Change the time on your device and feel free to go to work, school, etc. And then you can change the time back)

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Choreography: Classical dance

Classical dance is the basis of choreography. Classics allow you to learn all the subtleties of ballet art, feel the harmony of movements and music. Many will think, why bother with the “old” when there are many new modern trends. But you need to understand that everything new originates from the dances of past centuries. Thus, the classics absorbed all the most elegant movements from folk and everyday dances of several centuries, gradually improving the positions of the arms and legs, the positions of the head and body. All dance movements in classical dance have names in French, so dancers from different countries can easily understand each other. Classical dance classes allow you to develop flexibility, coordination of movements, strengthen the musculoskeletal system, contribute to the development of endurance, physical and intellectual development, and also teach control your body. Various combinations allow you to dance beautifully and elegantly, even if it is simple movements of the hand, foot or head. In children engaged in classics, correct posture is corrected and established, and some cases of spinal curvature are corrected. Often, even experienced dancers of various dance styles continue to practice classical dance, because its fundamentals are universal.. In classical dance classes, they teach the basic positions of the arms and legs, correct body positioning, introduce professional terminology and the history of the development of ballet, cultivate musicality, develop stability and coordination, and They also prepare small classical performances in the form of etudes, adagios or various variations. All movements in classical dance are based on turnout - one of the most important qualities in classical dance, which is simply necessary for any stage dance. Turnout and development of the step are necessary regardless of the height to which the leg is raised; turnout seems to hold the leg, leading it to the desired position, promoting the purity of plastic movements and smoothing out the angles formed by the heels when lifting the legs. Insufficiently flexible knee, ankle and instep restrict the free movement of the legs, making them cramped and unexpressive. Based on turnout, there are five foot positions in classical dance. Moreover, in all these positions, not only the feet are turned out, but the entire legs, starting from the hip joint. Regular long-term flexibility and endurance training allows you to take the necessary positions without much effort.

When starting to practice, you need to remember about the stance, because nothing will work if you do not stretch your body vertically, avoiding a bent or arched spine, and do not distribute the weight between your legs. Developing correct posture requires a lot of patience and time. You should never forget about your posture - neither during classical classes, nor during independent training, nor on any other day. Classical dance, like many others, is not only a set of movements, it needs to be revived, emotions and feelings must be put into it. And as soon as strong feelings are revealed in the dance, the impression of it changes significantly; it fascinates with its plastic expressiveness, leaving complete aesthetic pleasure.
In the 17th century (1701), the Frenchman Raoul Feuillet created a system for recording elements of classical dance. These terms are recognized by experts in the field of world choreography even today. Knowledge of special terms speeds up the learning process. This is the international language of dance, the opportunity to communicate with choreographers, understanding of specialized literature, the ability to briefly record training combinations, lessons, etudes, floor exercises, compositions.

Choreographic terminology is a system of special names intended to designate exercises or concepts that are difficult to briefly explain or describe.
Exercise at the support or in the middle - This is a set of training exercises in ballet that promote the development of muscles, ligaments, and the development of coordination of movements in the dancer. Exercises are performed at the “bench” (attached with brackets to the wall) and in the middle of the training room every day. Exercises consist of the same elements.
1.demi plie - (demi plie) - incomplete “squat”.
2.grand plie - (grand plie) - deep, large “squat”.
3.relevé- (relevé) - “lifting”, lifting into a toe-stand with lowering into the IP in any position of the legs.
4.battement tendu - (batman tandu) - “extended” sliding movement of the foot into the position of the leg on the toe forward, to the side, back with a sliding movement returning to the IP.
5.battement tendu jeté - (batman tandu jeté) “throw”, swing to a downward position (25°, 45°) with a cross.
6.demi rond - (demi rond) - incomplete circle, semicircle (toe on the floor, at 45ana 90° and above).
7.rond dejamb parterre - (rond de jamb par ter) - circle with the toe on the floor; circular movement of the toe on the floor.
8.rond de jamb en l "air - (rond de jamb en leer) - circle with the leg in the air, stand on the left to the right to the side, circular movement of the shin outward or inward.
9.en dehors - (andeor) - circular movement away from oneself, circular movement outward in the hip or knee joint, as well as turns. 10.en dedans - (andedan) - circular movement towards oneself, circular movement inward.
11.sur le cou de pied - (sur le cou de pied) - the position of the foot on the ankle (in the narrowest place of the leg), the position of the bent leg on the ankle joint in front or behind.
12.battement fondu - (batman fondue) - “soft”, “melting”, simultaneous flexion and extension of the legs at the hip and knee joints.
13.battement frappe - (batman frappe) - “kick” - a short blow with the foot on the ankle joint of the supporting leg, and rapid extension of the knee joint (25°, 45°) to the toe or downward position.
14.petit battement - (petit batman) - “small kick” - alternately small, short kicks with the foot in the cou-de-pied position in front and behind the supporting leg.
15.battu- (botyu) - “hit” continuously, small, short blows to the ankle joint only in front or behind the supporting leg.
16.double- (double) - “double”, battement tendu - double heel press battement fondu - double half-squat battement frapper - double blow.
17.passe-(passe) - “to carry out”, “to pass”, the position of a bent leg, toe at the knee: in front, to the side, behind.
18.relevelent- (relevant) - “raise” slowly, smoothly slowly on a count of 1-4 1-8 raising the leg forward, to the side or back and higher.
19.battement soutenu-(batman with a hundred) - “fused” - from stoics on toes with a half squat on the left, sliding the right one forward onto the toe (back or to the side) and sliding back to IP.
20.développe-(develop) - “opening”, “unfolded”, from a stoic position to the left and right with a sliding movement to a bent position (toe at the knee) and straightening it in any direction (forward, sideways, backward) or higher.
21.adajio - (adagio) - slowly, smoothly includes grand plie, development, leveller, all types of balances, pirouettes, turns. Joint bundle for 32, 64 counts.
22.attitude - (attitude) - pose with the leg bent at the back, stand on the left, right to the side - back, shin to the left.
23.terboushon- (terbushon) - a pose with a bent leg in front (attitude in front) of a stoic on the left, right forward, shin down to the left.
24.degaje-(degazhe) - “transition” from the stand on the left to the right forward on the toe, step forward through a half-squat in the 4th position, straightening up, stand on the right, left back, on the toe. From the stand on the left, right to the side on the toe, step to the side through a half-squat in the 2nd position, stand on the right, left to the side on the toe.
25.grand battement-(grand batman) - “big throw, swing” 90° and higher through the position of the foot on the toe.
26.tombée-(tombe) - “fall” from a stand on the toes in the fifth position, lunge forward (to the side, back) with a sliding movement returning to IP.
27.picce-(picke) - “stabbing”, stand on the left right forward to the bottom, quickly touch the floor with the toe repeatedly.
28.pounte-(pointe) - “on the toe”, “touching with the toe” from a stoic position on the left, right forward, to the side or back on the toe swing in any direction with a return to IP.
29.balance - “swinging”, pendulum movement of the legs forward up - back down, forward - back, forward - back up.
30.allongée-(allange) - “reaching out”, completing the movement with the arm, leg, torso.
31.pordebras - (por de bras) - “bends of the body”, bending forward, backward, to the side. The same goes for stretching.
32.temps lie-(tan lie) - small adagio, 1 - half squat on the left, 2 - right forward on the toe, 3 - shift the center of gravity to the right, left back on the toe, 4-IP 5. the same to the side and back.
33.failli-(fay) - “flying”, IP - 5th position right in front. Push 2 jump up, lowering into a cross lunge with the left to the side, left hand up, right hand back - push with the left and swing the right back downwards jump up 2 hands down. 34.allegro-(allegro) - “cheerful”, “joyful”, part of the lesson consisting of jumps, performed at a fast pace.

Addition: A LA SECONDE [a la segond] - a position in which the performer is positioned en face, and the “working” leg is open to the side at 90°.
ALLONGE, ARRONDIE [alonge, arondi] - the position of a rounded or elongated arm.
ARABESQUE [arabesque] - a classical dance pose in which the leg is pulled back “toe to the floor” by 45°, 60° or 90°, the position of the torso, arms and head depends on the shape of the arabesque.
ARCH [atch] - arch, bending of the torso back.
ASSEMBLE [assemble] - a jump from one leg to two is performed with abduction of the leg in a given direction and gathering the legs together during the jump.
ATTITUDE [attitude] - the position of the leg, lifted off the floor and slightly bent at the knee.
BATTEMENT AVELOPPE [batman avloppe] - the opposite movement to battement developpe, the “working” leg from the open position through passe is lowered to a given position.
BATTEMENT DE VELOPPE [batman devloppe] - taking the leg forward, backward or to the side by sliding the “working” leg along the supporting leg.
BATTEMENT FONDU [batman fondue] - a movement consisting of simultaneous bending of the knees, at the end of which the “working” leg comes into a position sur le cou-de-pied in front or behind the supporting leg, followed by a simultaneous extension of the knees and the “working” leg opens forward, sideways or backward. Modern jazz dance also uses the fondu form from the folk stage dance lesson.
BATTEMENT FRAPPE [batman frappe] - a movement consisting of a quick, energetic flexion and extension of the leg, the foot is brought to the sur le cou-de-pied position at the moment of flexion and opens with the toe to the floor or to a height of 45 ° at the moment of extension forward, to the side or back.
BATTEMENT RELEVE LENT [batman releve lan] - a smooth lift of the leg through sliding along the floor 90° forward, sideways or backward.
1 When learning vocabulary, it is necessary to remember that the movements of classical dance, borrowed from modern jazz dance, are very often modified. This is especially true for the inverted and parallel positions. In this regard, the dictionary gives the terminology of classical ballet without changes (see All about ballet // With the author E.Ya. Surits. M., 1966, Encyclopedia "Ballet". M., 1981, etc.), and the change in provisions depends on the context of the lesson. There is often a terminological overlap between English and French terminology, for example, temps leve is similar to hop, battement tendu is similar to brack, kick corresponds to grand battement developpe, etc. In this case, it is necessary to use a movement depending on the specific exercise.
BATTEMENTRETIRE [batman retire] - transfer through sliding of the “working” leg, through passe from the V position in front to the V position behind.
BATTEMENT TENDU [batman tandu] - movement of the leg, which is moved forward, backward or to the side with a sliding movement. In modern jazz dance it is also performed in parallel positions.
BATTEMENT TENDU JETE [batman tandu jete] - differs from battement tendu by actively throwing the leg into the air at a height.
BODY ROLL [body roll] - a group of torso tilts associated with alternate movement of the center of the body in the lateral or frontal plane (synonymous with “wave”).
BOUNCE [bounce] - springboard rocking up and down, mainly occurs either due to bending and straightening of the knees, or pulsating tilts of the torso.
BRUCH [brush] - sliding or brushing the entire foot across the floor before opening the leg into the air or when closing into a position.
CONTRACTION [contract] - compression, reduction of the volume of the body and rounding of the spine, begins in the center of the pelvis, gradually capturing the entire spine, performed while exhaling.
CORKSCREW TURN [corkscrew turns] - “corkscrew” turns in which the performer increases or decreases the level of rotation.
COUPE [coupe] - a quick substitution of one leg for another, serving as an impetus for a jump or other movement.
CURVE [curf] - bending of the upper part of the spine (to the “solar plexus”) forward or to the side.
DEEP BODY BEND [deep body bend] - bending the torso forward below 90°, maintaining a straight line of the torso and arms.
DEEP CONTRACTION [deep contraction] - strong compression into the center of the body, in which all joints participate, i.e. This movement includes the arms, legs and head.
DE GAGE [degage] - transferring the weight of the body from one leg to another in the second position (right, left) and in the fourth position of the legs (forward, backward), can be performed both with demi-plie and with outstretched legs.
DEMI-RYO [demi-plie] - a half-squat in which the heels do not come off the floor.
DEMIROND [demi rond] - a semicircle with the toe of the foot on the floor forward and to the side, or back and to the side.
DROP [drop] - falling of the relaxed torso forward or to the side.
ECARTE [ecarte] - a classical dance pose (a la seconde), deployed diagonally forward or backward, the body is slightly tilted away from the raised leg.
EMBO1TO [ambuate] - successive transitions from foot to foot on half-toes, fingers and with a jump. Emboite jumps - alternately throwing your legs bent at the knees forward or 45°.
EN DEDANS [an dedan] - the direction of movement or turning towards oneself, inward.
EN DEHORS [an deor] - the direction of movement or rotation away from oneself or outward.
EPAULMENT [epolman] - the position of the dancer turned 3/4 in t. 8 or t. 2; there is a difference between epaulement croise (closed) and epaulement efface (erased, open),
FLAT BACK [flat back] - tilting the torso forward, to the side (90°), back with a straight back, without bending the torso.
FLAT STEP [flat step] - a step in which the entire foot is simultaneously placed on the floor.
FLEX [flex] - shortened foot, hand or knees.
FLIK [flick] - a stroke of the foot along the floor towards the supporting leg.
FOUETTE [fouette] - a turning technique in which the performer’s body turns towards a leg fixed in a certain position (on the floor or in the air).
FROG-POSITION [frog-position] - a sitting position in which the legs bent at the knees touch each other with the feet, the knees should be maximally open to the sides,
GLISSADE [glissade] - ground sliding jump without lifting off the floor with movement to the right-left or back and forth.
GRAND BATTEMENT [grand batman] - throw a leg 90° or higher forward, backward or to the side.
GRAND JETE [grand jete] - a jump from one leg to the other moving forward, backward or to the side. The legs open as much as possible and take a “split” position in the air.
GRAND PLIE [grand plie] - full squat.
HIGH RELEASE [high release] - high expansion, a movement consisting of lifting the chest with a slight bend back.
HINGE [hinch] - a dancer’s position in which the straight, without bending, torso leans back to the maximum distance, knees bent, feet on half toes,
HIP LIFT [hip lift] - lifting the hip up.
NOR [hop] - step-hop, the “working” leg is usually in the “knee” position.
JACK KNIFE [Jack Knife] - the position of the body in which the torso leans forward, the back is straight, support is on the hands, the knees are extended, the legs are in the second parallel position, the heels do not come off the floor.
JAZZ HAND [jazz hand] - a position of the hand in which the fingers are tense and spread apart.
JELLY ROLL [jelly roll] - movement of the pelvis, consisting of a small muscle contraction with a simultaneous slight rotation of the pelvis to the right and left (synonym - pelvis neck.)
JERK-POSITION [jerk position] - a position of the arms in which the elbows are bent and slightly pulled back behind the chest, the forearms are parallel to the floor.
JUMP [jump] - jump on two legs.
KICK [kick] - throw of the leg forward or to the side at 45° or 90° through removal using the developpe technique,
LAY OUT - a position in which the leg, open 90° to the side or back, and the torso form one straight line.
LEAP [liip] - jump from one leg to the other moving forward or to the side.
WCOMOTOR [locomotor] - circular movement of arms bent at the elbows along the torso.
LOW BACK [low back] - rounding of the spine in the lumbar-thoracic region.
PAS BALANCE [on balance] - pa, consisting of a combination of tombe and times de Ъоуггее. It is performed moving from side to side, less often - back and forth.
PAS CHASSE [pa chasse] - an auxiliary jump with advancement in all directions, during which one leg “catches up” with the other at the highest point of the jump.
PAS DE BOURREE [pas de bourre] - a dance auxiliary step consisting of alternating steps from one foot to the other ending on demi-plle. Synonymous with step pas de bourree. In modern jazz dance, during pas de bourgeois, the position sur le cou-de-pied is not fixed.
PAS DE CHAT [pas de sha] - a cat's limiting jump. The legs bent at the knees are thrown back.
PAS FAILLJ [pa faille] - a connecting step consisting of passing the free leg through the passing demlplie in the first position forward or backward, then the weight of the body is transferred to the leg with some deviation from the vertical axis.
PASSE [passe] - a passing movement, which is a connecting movement when moving the leg from one position to another, can be performed in the first position on the floor (passepar terre), or at 45° or 90°.
PIQUE [pique] - a light prick with the tips of the toes of the “working” leg on the floor and raising the leg to a given height.
PIROUTTE [pirouette] - rotation of the performer on one leg en dehors or en dedans, the second leg in the position sur le cou-de-pied.
PLIE RELEVE [plie releve] - position of the legs on half toes with bent knees.
POINT [point] - extended position of the foot.
PRANCE [price] - a movement for developing foot mobility, consisting of a quick change of position “on the half-toes” and point.
PREPARATION [preparation] - a preparatory movement performed before the start of an exercise.
PRESS-POSITION [press position] - a position of the arms in which the arms bent at the elbows and the palms touch the hips in front or on the sides.
RELEASE [release] - expansion of body volume that occurs during inhalation.
RELEVE [releve] - lifting onto half toes.
RENVERSE [ranverse] - a sharp bending of the body, mainly from an atitude croise pose, accompanied by a pas de bouree en tournant.
ROLL DOWN [roll down] - a spiral tilt down and forward, starting from the head.
ROLL UP [roll an] - reverse movement associated with the gradual unwinding and straightening of the torso to the starting position.
ROND DE JAM BE PAR TERRE [ron de jambe par terre] - circle with an outstretched leg, touching the floor with your toes.
ROVD DE JAM BE EN L "AIR [ron de jambe enler] - circular movement of the lower leg (ankle) with a fixed hip, abducted to the side to a height of 45° or 90°.
SAUTE [saute] - a classical dance jump from two legs to two legs in I, II, IV and V positions.
SHIMMI [shimmy] - spiral, twisting movement of the pelvis to the right and left,
SIDE STRETCH [side stretch] - lateral stretching of the torso, tilting the torso to the right or left.
SISSON OUVERTE [sisson overt] - a jump with flying forward, backward or to the side; upon landing, one leg remains open in the air at a given height or in a given position.
SOUTENU EN TQURNANT [soutenu en turnan] - a turn on two legs, starting with retracting the “working* leg into the fifth position.
SQUARE [square] - four steps in a square: forward-to the side-back-to the side.
STEP BALL CHANGE [step ball change] - a connecting step consisting of a step to the side or forward and two steps on half toes (synonymous with step pa de hour,
SUNDARI [zundari] - movement of the head, consisting in the displacement of the cervical vertebrae to the right and left and back and forth.
SURLE COU-DE-PIED [sur le cou-de-pied] - the position of the extended foot of the “working” leg on the ankle of the supporting leg in front or behind.
SWING - swinging any part of the body (arm, leg, head, torso) in a special jazz rhythm.
THRUST [fast] - a sharp jerk of the chest or pelvis forward, to the side or backward.
TILT [tilt] - an angle, a posture in which the torso deviates to the side or forward from a vertical position, the “working” leg can be open in the opposite direction by 90° and above.
TOMBYO [tombe] - fall, transfer of the weight of the body to the open leg forward, to the side or back on the demi-plie,
TOUCH - side step or half-toe step without transferring the weight of the body.
TOUR CHA^NES [tour shene] - performed on two legs diagonally or in a circle on high half-toes, half turns following one another, in modern jazz dance can be performed on a full foot and in demi-plie.