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Many attempts to explain as of Basque origin, but as Trask points the related Basque word seems better explained as a foreign loanword in Basque (cf. Basque pizar "fragment"). Alternative attempts (Coromines BDELC 435) point to a reinterpretation of lapitz-arri (Basque lapits "slate" from Latin lapis , plus Basque arri "stone"), and misdivided ...
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The Heaviside step function, or the unit step function, usually denoted by H or θ (but sometimes u, 1 or 𝟙), is a step function named after Oliver Heaviside, the value of which is zero for negative arguments and one for positive arguments. Different conventions concerning the value H(0) are in use.
The Heaviside step function is an often-used step function. A constant function is a trivial example of a step function. Then there is only one interval, =. The sign function sgn(x), which is −1 for negative numbers and +1 for positive numbers, and is the simplest non-constant step function.
Spanish is capable of expressing such concepts without a special cleft structure thanks to its flexible word order. For example, if we translate a cleft sentence such as "It was Juan who lost the keys", we get Fue Juan el que perdió las llaves. Whereas the English sentence uses a special structure, the Spanish one does not.
A typical five-line staff. In Western musical notation, the staff [1] [2] (UK also stave; [3] plural: staffs or staves), [1] also occasionally referred to as a pentagram, [4] [5] [6] is a set of five horizontal lines and four spaces that each represent a different musical pitch or in the case of a percussion staff, different percussion instruments.
A function (which in mathematics is generally defined as mapping the elements of one set A to elements of another B) is called "A onto B" (instead of "A to B" or "A into B") only if it is surjective; it may even be said that "f is onto" (i. e. surjective). Not translatable (without circumlocutions) to some languages other than English.
A rigorous analysis should note that many chord progressions are likely to come from an epoch prior to early Baroque (usually associated with birth of tonality). [11] In such cases (also, that of the Andalusian cadence), explanations offered by tonality "neglect" the history and evolution of the chord progression in question.