The next thing that I did was to design the second part. This will not join them together yet, and I'm going to focus on something completely different, so I decided to do this in a separate file.

My inspiration for this part came from experimenting with the drones of the first part. There are a virtually unlimited number of combinations of sets of overtones that could be created, and the combinations of discrete frequencies into complex sounds is something that has fascinated me for a long time. Moreover, when thousands of discrete frequencies combine in such a way as to create what we think of as "a violin playing one note," it seems like a magical moment.

I'm going to build up a set of pseudo-random tones, adding them one at a time, in set increments. As you will see, this introduces a number of problems, primarily because of the scheduling involved with the one-by-one introduction of tones, and keeping track of those tones.

The fact that there are ten tones also poses a problem, because it might require a lot of typing. We'll see solutions to that, which use SuperCollider's programming features to greatly increase the efficiency.

Although we've already solved the musical problems (that is, we know what we want this part to sound like), the computer science (programming) problems will have to be solved the old-fashioned way: start with something simple, and build it into a complex solution.

First I will develop the version used in FSC-method-1.sc, then the version used in FSC-method-1-short.sc