Has the scientific method been discovered?
Posted: Tue Mar 14, 2006 11:58 am
Fen's current troubles with remembering the (likely symphonic) ultra-complex piece of music he got on his first watch could largely be repaired by approaching what he *does* remember scientifically. The question is whether this approach has been internalized in society. From what he's already described of the piece we know it is:
1. complex
2. multiple song lines
3. has large numbers of the same instruments playing together creating a complex interplay of music
4. seems to come from everywhere
Now if you took a piece and played it with 1, 2, 3, 5, 8, 13, etc instruments, you can pretty quickly get an appreciation of volume, harmony, how much do you actually have to scale before you start getting that "wall of sound" effect. Systematize and experiment and you'll be using the rath as it's intended, as *inspiration* instead of just a transcription opportunity for your betters to pore over.
Now once you get a handle on how many strings you need before you get a complex interplay that provides something new, do the same thing with woodwinds and then combine the two, three, and so on sections.
By experimenting, composing, playing with complexity to see how things change when you scale up the number of participants in a piece, you can replicate the experience without necessarily replicating a single line in the symphonic segment.
I wonder if Kel's artificer mind will throw Fen a clue and put him on the right track.
1. complex
2. multiple song lines
3. has large numbers of the same instruments playing together creating a complex interplay of music
4. seems to come from everywhere
Now if you took a piece and played it with 1, 2, 3, 5, 8, 13, etc instruments, you can pretty quickly get an appreciation of volume, harmony, how much do you actually have to scale before you start getting that "wall of sound" effect. Systematize and experiment and you'll be using the rath as it's intended, as *inspiration* instead of just a transcription opportunity for your betters to pore over.
Now once you get a handle on how many strings you need before you get a complex interplay that provides something new, do the same thing with woodwinds and then combine the two, three, and so on sections.
By experimenting, composing, playing with complexity to see how things change when you scale up the number of participants in a piece, you can replicate the experience without necessarily replicating a single line in the symphonic segment.
I wonder if Kel's artificer mind will throw Fen a clue and put him on the right track.
