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For example, if the numerical data 3.4, 5.1, 2.6, 7.3 are observed, the ranks of these data items would be 2, 3, 1 and 4 respectively. As another example, the ordinal data hot, cold, warm would be replaced by 3, 1, 2. In these examples, the ranks are assigned to values in ascending order, although descending ranks can also be used.
An example of stable sort on playing cards. When the cards are sorted by rank with a stable sort, the two 5s must remain in the same order in the sorted output that they were originally in. When they are sorted with a non-stable sort, the 5s may end up in the opposite order in the sorted output.
Some music teachers teach their students relative pitch by having them associate each possible interval with the first interval of a popular song. [1] Such songs are known as "reference songs". [2]
The first click on the header cell will sort the column’s data in ascending order, a second click of the same arrow descending order, and a third click will restore the original order of the entire table. For example; a third click causes List of countries by intentional homicide rate to reset to its original order by subregion.
For example, if the numerical data 3.4, 5.1, 2.6, 7.3 are observed, the ranks of these data items would be 2, 3, 1 and 4 respectively. As another example, the ordinal data hot, cold, warm would be replaced by 3, 1, 2. In these examples, the ranks are assigned to values in ascending order, although descending ranks can also be used.
A standard order is often called ascending (corresponding to the fact that the standard order of numbers is ascending, i.e. A to Z, 0 to 9), the reverse order descending (Z to A, 9 to 0). For dates and times, ascending means that earlier values precede later ones e.g. 1/1/2000 will sort ahead of 1/1/2001.
Although each of these forms of itself comprises seven pitches, together they comprise nine, which might seem to call into question the scale's status as a heptatonic scale. In certain twentieth-century music, however, it became common systematically to use the ascending form for both ascending and descending passages.
Scriabin himself called this set of pitches, voiced as the simultaneity (in ascending order) C F ♯ B ♭ E A D the "mystic chord". Others have referred to it as the "Promethean chord". It may be thought of as C Lydian dominant without the 5th degree.