I wanted to comment on a few things.
I am quite good at Chess
I understand what you have said to the "T".
I know the solution (if you can call it that), as I have been using exactly this phenomenon
with greater success for my plays.
I came upon this about a month or so ago, after many long hours of contemplating. I was actually stunned when I discovered it.
Congratulations on your discovery. May you hit big.
Ah, I almost forgot. It of course applies to the 4 digit, Fantasy 5, Lotto 47, (Michigan games referenced) etc. The more numbers involved get complicated (but still musical), wouldn't you agree? Like a night at the ballet.
P.S. I have not revealed this to anyone, just yet.
Your "musical" reference gave me a start quite frankly.
It was just one of a number of things that I had yet to mention to anyone -- that there always seemed for me to be a connection with or at least a comparison that can be made to "the phenomenon" (or at least various parts of it) and music.
I have a vocabulary of terms that I always thought directly apply to the phenomenon, but they are to be found in the realm of music as well.
Some for instance:
progression(s) -- of course!
(Jeez -- maybe there's a Tonic present too!)
I have thought in those very terms when studying and searching within the phenomenon. All of those things are present.
They are also present in music.
Sometimes I have this particular thought:
In music -- the basic triad (three notes): The triad chord is versatile by virtue of those three notes because any one or two of those three notes (intervals?) are always changeable while still keeping some measure of what the chord originally was -- the essential nature of the chord itself is "absolutely versatile".
And within the phenomenon there are "three" columns -- and also the progressions have a "three" reference as well (as to form you might say).
Anyway, I have noticed the concept of "three" figuring very prominently in both music and the phenomenon.
I guess anyone who took the opportunity to examine the two examples I offered noticed right away that they indeed are represented by the use of three letters ("X" is not counted because there are also "A's", "B's" and "C's" beneath those "X's -- I was making use of those X's to draw your attention to the particular A's, B's and C's that you could see. I wanted your focus to be on those. There is always rhyme and reason to what I do -- even if I fail at doing it.)
I don't think that I have even mentioned this yet but need to:
Even in the Pick 4 type games -- with the addition of an "extra" column the phenomenon actually still makes use of only three columns. Hard to explain here, but I will try:
There are still only three columns but now there are multiples of three columns. The first, second and third -- and these multiples: the first, second and fourth columns; the first, third and fourth; and the second, third and fourth. Absolute versatility is not affected at all by this. Indeed, it causes an image in my head in which "AV" is hovering there among the 4 columns (or over even more columns) rubbing its hands together (God knows just how many hands it has!) as it deliciously anticipates really showing off for us -- any of us who can actually follow it, of course.
Absolute versatility always makes use of three columns -- not four. It's just that there are indeed three columns in a group of 4 or more columns -- in multiples. Absolute versatility cannot operate any more gloriously just because there's an extra column -- it's just that the "results" would impress a human being all the more because now the Pick 4 has been predicted (ultimately) in a single straight attempt instead of it being the Pick 3 with one less column than the Pick 4. Difficult for me -- I hope I gave you the idea.
I understand on some unconscious or subconcious level that there is something very significant and unique about the concept of "three" concerning the phenomenon.
Back to music for just another moment if I may:
The fact is I do just happen to have some direct experience with and knowledge of music (definitely more marginal than thorough though).
I have always been very attracted to the study of melodics.
I think that the phenomenon has its own "melodics".
Through the years I have played, studied (other composers') and even created my own share of chord "progressions" (and no less importantly melodies) on the piano keyboard.
It is fascinating to me that a composer when creating a chord progression always has the option of choosing among any number of chords at any and every given point along the course of composition.
For instance, he or she can proceed along thusly: E flat, G major, F major -- or, as an alternative -- E flat, D, G minor. That kind of thing.
He or she has the very same potential for seemingly unlimited versatility concerning the melody itself anywhere along the course of creating (composing) it.
I guess that I have always sensed the presence of some kind of absolute versatility in music all of its own.
It occurs to me...
It just may very well be that the young Paul McCartney might very well have had the "natural aptitude" or facility necessary for following absolute versatility's own progression logic.
It may be true as well that Mozart himself might very well have had a 100% facility with it. He might would have been able to simply look down at a series of Pick 3 type past results and been able to tell you immediately what that particular evening's straight Pick 3 would be -- the same way that he could create a supremely beautiful concerto on the fly.
There absolutely is so much about both music and this phenomenon that is not bound by either space or time.
Thanks very much for that Curious2k3.
Oh, and Curious... I would be extremely interested in hearing anything more about it from you. Anything at all -- even just general perceptions you have about it. Anything!
Who knows... you indeed may very well be the one to thoroughly solve it. I get a sense from that single post alone that you may be highly intuitive (which I personally believe is a prerequisite for working with the phenomenon).
I would be thrilled to hear more from you.
Kind of made my day with that.