And Andreas – you are right about that corrected note that Luc made in Sam’s composition – what the old man said. I did not catch that, but verryyyy interesting, indeed.
Yes, I´m curious now, how the story goes on.
And isn’t it funny how the author puts in those funny statements about like the chair squeaking in f-sharp major, or the car horn honking in b-flat, things like that.
Yes, I noticed these kind of motifs built in regularly, too, but in the first moment I find them to be unrealistic, because most of them were just noises, like squeaking and these things.
First I thought, that I have never heard "squeaking" something in a certain scale. But then I remembered, that some technical advices can produce real "tones", which always have overtones in opposite to noises, which have not an overtone-serie. (That´s the physical difference between a noise and a tone.)
F.ex. in school we have a copy-advice, which squeaks by producing two quite clear tones: d´´ and h´, so its a small third, a "cuckoo"-third. So, I think, its´really possible, that a chair-squeaking could produce a f-sharp-major-chord f.ex, but not a real scale, I suppose.
Also, I’m almost certain that Magyar is not a real person but is what we call in English – a fictional character. The author has given Magyar some of the same qualities as Liszt, but that is as far as it goes. (at least I think)
That´s a possibility and seems to be a good idea from my view. Let us see, how it goes on.
I shall try to read chapter 4 this evening.