This is the first of two examples.

The contention of this pitch Quixote is that symmetrical structures extend themselves in our brains without being presented in actuality.  In this example, the contention is that the whole tone scale completes itself in our brain.  We hear the G# that completes the whole tone scale.   And then the low G natural in the guitar displaces a note that we hear only in our heads.

What to make of this?   Whatever you like.   My take--this is a last frontier.  I'm bored with only hearing things that are THERE. I'm happy in this realm where we're counting angels on the head of a pin.And it makes for interesting tunes, regardless of who wins the argument.

Another example in the same piece:   look for measure  6.   The contention here is that our ears are soooo diatonic that major thirds always imply the intervening note, symmetrically in between.    So here, between the F# and the Bb our brain supplies the G#.

In both examples it is G# that's not there.   In fact, there are no G#s in this piece.

There's more to the last example.  The complement to the prevailing D, E, F#, G, A, B is heard in measure 6, although it's mixed up with D's and other suspensions from the other hexachord..  The complement is Ab, Bb, C, Db, Eb, F   (the tritone transposition of the D diatonic hexachord).

So in measure 6 we have all but the Ab, which, according to this contention about major thirds, we supply without it actually being there.   Fact is,  I felt this measure first as the complement.  After playing the piece dozens of times the sense that I was hearing the complement became very clear.

Then I looked at the score and realized that complements don't have to be complete.   Is it not the case that augmented 6 chords imply the rest of the complement?   In Beethoven this seems clear enough.  Even in Fernando Sor.   Who needs all the rest of the tritone-transposition???

Oren & I record Genius Loci on July 18!  It's an innocent little doodle, with these devilish deals going on under the table.