I was just writing an ascending bass line in slow half notes, where only the basses have that ascending line. I kept playing it over and over, looking at my orchestration trying to figure out where the damn F# was coming from. I played it five times. Was there some kind of magical acoustical phenomenon I had concocted?
It was the lawnmower next door, with a fixed low F# and a non-harmonic overtone spectrum. I guess it was reality’s way of saying to take a break.