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Four down-tuned variations are used by the band Sevendust: A Drop C# variation, or C ♯-G ♯-c ♯-f ♯-g ♯-c ♯ ', Also uses a variation where the lowest string is dropped to G ♯ on the song "Chop", A Drop C variation, or 'C-G-c-f-g-c'.
An alpha beta filter (also called alpha-beta filter, f-g filter or g-h filter [1]) is a simplified form of observer for estimation, data smoothing and control applications. It is closely related to Kalman filters and to linear state observers used in control theory. Its principal advantage is that it does not require a detailed system model.
"The augmented-fourth interval is the only interval whose inverse is the same as itself. The augmented-fourths tuning is the only tuning (other than the 'trivial' tuning C–C–C–C–C–C) for which all chords-forms remain unchanged when the strings are reversed. Thus the augmented-fourths tuning is its own 'lefty' tuning." [23]
Many esoteric programming languages follow the convention that any text not executed by the instruction pointer (e.g., Befunge) or otherwise assigned a meaning (e.g., Brainfuck), is considered a "comment".
F Sharp notes. F ♯ (F-sharp; also known as fa dièse or fi) is the seventh semitone of the solfège.. It lies a chromatic semitone above F and a diatonic semitone below G, thus being enharmonic to sol bémol or G ♭ (G-flat) in 12 equal temperament.
For each short exact sequence as above, there is a long exact sequence; For each morphism of short exact sequences and for each non-negative n, the induced square . is commutative (the δ n on the top is that corresponding to the short exact sequence of M's whereas the one on the bottom corresponds to the short exact sequence of N's).
C# (/ ˌ s iː ˈ ʃ ɑːr p / see SHARP) [b] is a general-purpose high-level programming language supporting multiple paradigms.C# encompasses static typing, [16]: 4 strong typing, lexically scoped, imperative, declarative, functional, generic, [16]: 22 object-oriented (class-based), and component-oriented programming disciplines.
However, Johann Sebastian Bach chose C-sharp major for Prelude and Fugue No. 3 in both books of The Well-Tempered Clavier. In Hungarian Rhapsody No. 6 , Franz Liszt takes the unusual step of changing the key from D-flat major to C-sharp major near the start of the piece, and then back again to B-flat minor.