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Difference Between SWITCH & IFS Function in MS #Excel =SWITCH(Measure,B6,C6,B7,C7,B8,C8,"Not Found!") =IFERROR(IFS(Measure=B6,C6,Measure=B7,C7,Measure=B8,C8),"Not Found!") =XLOOKUP(Measure,B6:B8,C6:C8,"Not Found!") =FILTER(C6:C8,B6:B8=Measure,"Not Found!")

76,213 次观看 • 3 年前 •via X (Twitter)

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Steve Jobs: The difference between good people and great people is 50-to-1 “I’ve always considered part of my job was to keep the quality level of people in the organizations I work with very high. I mean that’s what I consider one of the few things I can contribute individually myself — versus the team that work with — is to really try to instill in the organization the goal of having only A players.” Steve argues this is especially important in technology where there’s a huge range between the best person and the worst person: “In a lot of fields, the difference between, say, the worst taxicab driver and the best taxicab driver to get you across town in Manhattan might be 2-to-1. The best one will get you there in 15 minutes, the worst one will get you there in half an hour… Or the best cook and the worst cook, maybe it’s 3-to-1… But in the field that I’m in. In software in particular. The difference between the best person and the worst person is about 100-to-1 or more.” He continues: “The difference between a good software person and a great software person is probably 50-to-1 or 25-to-1. Huge dynamic range. And therefore, I have found — and not just in software but in almost everything I’ve done — it really pays to go after the best people in the world.” But as Steve points out, this isn’t always easy: “It’s very painful when you have some people that are not the best people in the world, and you have to get rid of them. But I’ve found that my job has sometimes been exactly that, to get rid of some of the people that didn’t measure up. And I’ve always tried to do it in a humane way, but nonetheless it has to be done and it’s not ever fun.”

Startup Archive

45,180 次观看 • 7 个月前

Bach’s Prelude in C Minor, BWV 999: When the Direction Is Set from the First Note A master archer does not determine the arrow’s flight at the moment the string is released. By then, nearly everything has already been decided. The aim has been fixed. The bow has been drawn. The force has been gathered. When the arrow leaves the bow, it simply completes what was prepared long before. Bach’s Prelude in C Minor, BWV 999, unfolds in the same way. At first hearing, the piece appears to change very little. Bach maintains almost the same arpeggiated pattern throughout—each chord’s notes sounded in succession according to a single, unbroken figuration from beginning to end. The rhythm remains steady, the motion continuous, and there are no passages of technical display. Yet when the music ends, the listener senses that they have been carried to a place entirely different from where they began. This transformation does not come from a striking melody. It arises from the way Bach orders the chords themselves. In this Prelude, no chord simply appears and disappears. Each one quietly prepares the ground for the chord that follows, much as the archer draws the bowstring a little farther with every small movement. Each action readies the next. From the opening measures, Bach therefore establishes not only a destination but a living chain of relationships among the chords. Everything that comes afterward is no longer arbitrary; it is the natural consequence of what has already taken place. That is why the music carries an unbroken sense of forward motion, even while its surface remains almost unchanged. The work begins in C minor, a key whose color is dark and inwardly unsettled. Bach does not create tension through sudden leaps or sharp contrasts. Instead, he lets the bass move by the smallest steps while the arpeggio pattern continues without interruption. Each change is so slight that, heard in isolation, it seems almost insignificant. Yet when the steps are joined, each one adds a further measure of tension. It is like the archer drawing the bowstring by degrees—without any dramatic gesture—storing energy for the release that must eventually come. Near measure 11, new colors begin to appear, most notably the Neapolitan chord on D-flat. The listener does not need to know its name to feel what it does. From this point the forward impulse already set in motion grows stronger still. The music does not turn aside; it simply draws the string tighter. The most remarkable passage lies at the center of the Prelude. From measure 13 to measure 33, Bach holds a single D in the bass for twenty-one measures while the chords above continue to change. On the surface the music seems to slow. In truth, this is the moment when the archer has drawn the bow to its fullest extent and now holds the posture firm. He has not released. He has not relaxed. While the bass note D remains motionless, every new chord above adds one more increment of tension. The entire energy of the work is held, gathered, and compressed. The listener may not be able to name what is happening, yet feels the music approaching a point that can no longer be delayed. This is not a stopping. It is the ripening of force. And then the moment comes. In the final measure the G-major chord sounds like the release of the bowstring. Nothing about it feels sudden, for the whole preceding process has been leading to this single instant. The closing chord is not an idea introduced at the last moment; it is the inevitable fruit of the chain of relationships established from the first measure. Yet Bach does not let the arrow fall. Instead of returning to C minor, he ends on a half cadence upon G major. The causal sequence he has built is therefore left open. The arrow has left the string, but the listener is not shown where it lands. The energy of the entire Prelude continues its flight beyond the final note. This is Bach’s particular mastery. He does not generate development through large turning points, but through an absolute inner order. Each chord grows out of the one before it and, at the same time, prepares the one that follows. It is this chain of causality that gives the Prelude its feeling of being at once entirely natural and entirely necessary. By the end, the listener does not feel that Bach has chosen a conclusion. They feel that the music could not have ended any other way. Perhaps this principle is not confined to music alone. An arrow does not reach its mark through the instant of release. Its path was decided the moment the archer set the aim and then held that aim steady through every stage of the draw. A single small deviation, and all the force so carefully stored loses its meaning. It is the same with human life. Once a person has found a goal worthy of pursuit, what matters most is no longer the moments of sudden inspiration, but the quiet capacity to remain faithful to the direction already chosen. Each small decision, each time one resists the urge to turn aside, each step taken even when the outcome is not yet visible—these are like drawing the bowstring a little farther. Taken one by one they may seem of little consequence, yet over time they accumulate into the strength that carries a person toward the goal. Perhaps this, too, is what Bach placed within Prelude BWV 999. From the very first note he established both a destination and the chain of relationships that would lead to it. Every chord remained true to the direction set at the beginning. It is this steadfastness that makes the final chord feel not like chance, but like necessity. And just as the arrow keeps flying after it has left the bow, Bach closes the Prelude on an open harmony—as if to remind us that once the direction has been set, the journey continues onward. One may hear Bach’s Prelude in C Minor, BWV 999 performed by David Tayler on the archlute. With the instrument’s warm, resonant voice, the Prelude’s quiet architecture comes into clear relief, allowing each harmony to unfold with unhurried clarity and revealing the quiet necessity of every step in Bach’s musical design.

🌸🎵 Beautiful Melody 🎶💖

17,329 次观看 • 1 个月前