All About Any in French

The English word any has numerous French translations, depending on what it means and whether it is used as an adjective, pronoun, or adverb. Any = No Matter Which adjective: nimporte quel You can have any book | Tu peux avoir nimporte quel livreAny chair will do | Nimporte quelle chaise fera laffaireIll watch any programs | Je regarde nimporte quels programmes pronoun: nimporte lequel You can have any one (of them) | Tu peux avoir nimporte lequelAny (one) will do | Nimporte laquelle fera laffaireIll watch any one (of them) | Je regarde nimporte lesquels Any = Some adjective: partitive article Do you have any money? | As-tu de largent  ?Do you want any bread?  | Veux-tu du pain  ?Are there any survivors?  | Y a-t-il des survivants  ? pronoun: adverbial pronoun en Do you have any? | En as-tu  ?Do you want any?  | En veux-tu  ?Are there any? | Y en a-t-il  ? Any = Each and Every adjective: tout Any child can learn French | Tout enfant peut apprendre le franà §aisAny student who talks in class will be punished  | Tout à ©là ¨ve qui parle en classe sera puniAny other response would have been more appropriate  | Toute autre rà ©ponse aurait à ©tà © plus approprià ©e Not Any = None adjective: pas de or, more emphatically, the negative adjective ne... aucun He doesnt have any proof | Il na pas de preuve / Il na aucune preuveI dont have any sisters | Je nai pas de sÅ“ur / Je nai aucune sÅ“urThere isnt any excuse | Il ny a pas dexcuse / Il ny a aucune excuse pronoun: ne... pas or ne... aucun with en We dont want any | Nous nen voulons pas / Nous nen voulons aucunI dont have any | Je nen ai pas / Je nen ai aucuneThere isnt any | Il ny en a pas / Il ny en a aucune Not Any More plus maintenant or ne... plus Do you eat fish? Not any more | Tu manges du poisson  ? Plus maintenantI dont have it any more | Je ne lai plusHe wont help any more  | Il naidera plus Any = Somewhat, a Bit un peu Do you feel any happier? | Te sens-tu un peu plus heureux  ?Is he any taller? | Est-il un peu plus grand  ?Are you any more athletic than David?  | Es-tu un peu plus sportif que David  ?

Analysis Of The Article Endless Waves Of Illegal...

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BCOM 275 Complete Class - 1327 Words

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Louis Armstrong Timeline Essay Research Paper LOUIS free essay sample

Louis Armstrong Timeline Essay, Research Paper LOUIS ARMSTRONG TIMELINE Louis Armstrong # 8217 ; s was born Aug. 4, 1901. He grew up in New Orleans and received his first music direction in 1913 in a kids # 8217 ; s place. By 1915 he was sitting in with local sets. He went to Chicago to fall in King Oliver in 1922 and made his first records with Oliver the the following April ( # 8221 ; Chimes Blues # 8221 ; ) . Though Chicago would be his base for the following 12 old ages, he went to New York for the first clip in September 1924 to fall in Fletcher Henderson # 8217 ; s set and record with assorted blues vocalists, including Bessie Smith, Clarence Williams, and Sidney Bechet. In November 1925 he went back to Chicago, where he began entering under his ain name and constructing the nucleus work which his repute as a major entertainer would everlastingly rest. These included the Hot Five and Hot Seven Sessionss and the early old ages of large set records from 1929 to 1934. We will write a custom essay sample on Louis Armstrong Timeline Essay Research Paper LOUIS or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page ? During this period his cornet manner went from powerful New Orleans ensemble lead into a solo voice whose stateliness seemed to surge with a rapacious and famished luster. In 1929 Armstrong began entering popular vocals. In vocals such as # 8220 ; Stardust, # 8221 ; # 8220 ; Sweethearts On Parade, # 8221 ; # 8220 ; Lazy River # 8221 ; and many others, he helped put the footing for the connection of wind and popular music in the # 8217 ; 30s, and set the? criterions? in which such participants as Red Allen, Harry James, Roy Eldridge, Taft Jordan, Bunny Berigan, Dizzy Gillespie and others would work for the following 10 to 15 old ages. By the mid-1930s, as the swing epoch began and Armstrong took to executing a more settled show, the period of illustriousness in his calling came to an terminal. His cardinal solos took on an unchangin g signifier, and a long recording association with Decca Records began. There would be updated agreements of early pieces, many of them outstanding, but no new musical discovery. The personality of Armstrong’s public presentation now came frontward in wireless, recordings with other Decca creative persons, and cameo movie functions in Pennies From Heaven, Dr. Rhythm, Going Places, Cabin In The Sky, and many more. In 1947 Armstrong officially dropped the large set and resumed executing traditional wind with an all-star group that included Earl Hines, Sid Catlett, Jack Teagarden and Barney Bigard. Armstrong # 8217 ; s playing loosened up slightly, though he neer strayed far from established modus operandis. He toured and recorded with assorted versions of the All-Stars for the remainder of his calling. In 1955 he made his first concert circuit of Europe since the early # 8217 ; 30s. Another circuit followed taking him to Africa. ? The international Tourss in the political context of the Cold War earned him the rubric # 8220 ; Ambassador Satch. # 8221 ; ? In the mid-1950s he recorded his last unmitigated wind chef-doeuvre work, Armstrong Plays W.C. Handy, for Columbia. There were besides some great reworkings of his early classics in A Musical Autobiography for Decca, and a few session with Ella Fitzgerald for Verve that became major Sellerss. He continued a full touring agenda until 1968, when his wellness eventually gave in to a diminished bosom. ? Armstrong died in July 1970, a wealthy and much beloved adult male, though his music was considered by some to be antique, and his acting manner dated and politically wrong. In 1953, Armstrong became the first instrumentalist elected by Readers to the new Down Beat Hall of Fame.