) interspersed
with diamond (
) and cross (
) note heads. Play
in a manner that contrasts with the lecturer's attitude. Be mocking
or solicitous or calm or resigned or anything else appropriate.
Alternate sections are marked Say and Play. The Say sections are spoken or sung to an improvised tune in a stentorian and condescending manner, as a traffic court judge lecturing a recidivist speeder. Read as though the text makes perfect sense, even though its grammar and meaning may make sudden, unexpected turns.
The Play sections use an ordinary five-line staff
with oval note heads () interspersed
with diamond () and cross () note heads. Play
in a manner that contrasts with the lecturer's attitude. Be mocking
or solicitous or calm or resigned or anything else appropriate.
) indicates some non-standard noise, like
a multiphonic or a strum behind the bridge or a dropped drumstick or a cheese-grater arpeggio or something else. Use your imagination.
) indicates a note that is one semitone (in either
direction) different from the preceding note.
You can play in concert with other performers, who may play other versions of this piece, or other any other materials, composed or improvised. When playing with others, the Say sections should be performed as disruptively as possible, and the Play sections should be played sensitively, with utmost regard to enhancing the performance of the other players.
Say: Illogical; we haven't performed the Warren Barker arrangement of "Phantom of the piece. Both works are longer than that, yet Pudge called it a masterwork. Obviously 2 minutes is not that it's time to jump into a discussion about classical music to critique?
Play:
Say: Actually, nobody has been said to have dictated the length must be played properly to be "masterworks". I suggest you listen to the work also do not share your dislike for it.
Play:
Say: The address had jbayer in it. What is allegedly sequitur, if you saw me quote someone else, then that quotation was in the Barnes variations. At least Barnes' variations keep things interesting, because no two are alike, except for the evidence.
Play:
Say: Multiple.
Play:
Say: But I had already done that.
Play:
Say: Feel free to identify an alternate source of irritation.
Play:
Say: May I recommend some of the Opera" in years, after having played it death and have it played by a professional band with good intonation, and tell me how it sounds good, then it IS good."
Play:
Say: Evidence that you would run away without answering the question.
Play:
Say: Check out James Barnes' "Fantasy Variations on a Theme by Niccolo Paganini". I think it would qualify as a concerto for orchestra.
Play:
Say: No claim will obviate the fact that the messages to which I'm replying: Date: Sun, 08 Jul 2001 17:44:38 -0400 Date: Sun, 08 Jul 2001 17:35:27 -0400 Now, let's look at your other responses to me: Date: Sun, 08 Jul 2001 17:44:38 -0400 Date: Sun, 08 Jul 2001 18:07:26 -0400 All later. Obviously you didn't answer the question. It was to my posting that your remark is allegedly clear about someone who likes such things. Direct complaints accordingly.
Play:
Say: Yet another unsubstantiated and erroneous claim.
Play:
Say: Where have I posted non sequitors [sic] that you would now play the last note of the number of times you've played it.
Play:
Say: Bridgewater Hall, as I expected.
Play:
Say: Just ten lines up: "OK, since tried to help and you haven't said anything about American composers, so the length of another piece that occupies one fifth of a competitive ethos, or the competitive ethos? Depends on whether the "no" is included as the former is irrelevant here.)
Play:
Say: On the contrary, you're the one ignoring the evidence so that an argument can be perpetuated.
Play:
Say: Then what is your looking back through previously read posts.
Play:
Say: Both irrelevant and incorrect, given that the variations jumping from section to section as in Bartok (note that the music schools here are turning out performers who are technically first-rate, but have no concept of a "mood play".
Play:
Say: That is a little knock-knock joke, try "knock knock" "who's there" about twenty times (if they'll even play along that long) and then moving on to suggest a couple of possibilities, one of which was acknowledged as being from someone "loonie" enough to not recognize what a "loonie" is.
Play:
Say: You should talk, a self-admitted troll.
Play:
Say: What good would that do? I've told you that you add irrelevant newsgroups, thus exacerbating the problem, is in the same melody over and over and over. It's a real challenge to play that piece and make it so. Witness the thread titled "Professor Plum Gets Snippy!"
Play:
Say: How so, given that I never said he did.
Play:
Say: Note: no response.
Play:
Say: Well, many of the ocean?" "A good start."
Play:
Say: Go right ahead. But I bet you won't, otherwise you might find yourself out of strikes.
Play:
Say: Evidence that you don't want me to respond. You got what you wanted.
Play:
Say: That's not something that "decent people" do.
Play:
Say: On the contrary, you asked a question.
Play:
Say: Yes.
Play:
Say: Note your irrelevancy.
Play:
Say: Why should it be the other way around? The music itself is inanimate; it won't have any trouble hearing the minor mistake by the fact that concert bands there? I know what you wanted.
Play: