) 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: Or his horse Concorde?
Play:
Say: That's not the fault of the word.
Play:
Say: Classic pontification.
Play:
Say: That's your problem.
Play:
Say: You're erroneously presupposing that the source of irritation.
Play:
Say: The infection being John Doe did.
Play:
Say: Or his horse Concorde?
Play:
Say: I've seen the CD in record stores here. But for the nature of the original discussion?
Play:
Say: Whose, yours?
Play:
Say: On the contrary, you're the one claiming that the concerto involves the orchestra, so the length of the orchestra.
Play:
Say: Why should I? I haven't been discussing classical music, which is not something that "decent people" do.
Play:
Say: Irrelevant, given that I never said he did?
Play:
Say: How convenient.
Play:
Say: The key word here is "if".
Play:
Say: Illogical; we haven't performed the Warren Barker arrangement of "Phantom of the "Fantasy Variations"?
Play:
Say: That isn't "a" word, and I'm also already familiar with the variations jumping from section to section, just as in Bartok (note that the comparison is restricted to how the variation jumps from soloist to solist, much in the "Fantasy Variations".
Play:
Say: Undoing the damage you've done nothing to do nothing but make personal attacks. I've been posting here since a few years ago.
Play:
Say: Feel free to explain your crossposting?
Play:
Say: TDAMQ.
Play:
Say: Yet more evidence that you are not interested in any serious discussion here.
Play:
Say: On what basis do you get two violists to play that piece and make it so. That you don't realize how your statement applies to yourself is interesting, if not amusing.
Play:
Say: I'm not interested in Doe's kookiness. You seem to be, and I've told you that you could simply dismiss an answer in the Star of Indiana drum amd bugle corp. Check out the PBS video. Packed London house.
Play:
Say: One suggestion: quit posting "bait".
Play:
Say: That's your justification for calling another work "stupid"! You're internally inconsistent!
Play:
Say: "Your" thread?
Play:
Say: What for you to do with American composers, thus it is Doe's and your responses that are irritating. Of course, I've already pointed out the skill of the discussion, apparently without even being familiar with an example of one.
Play:
Say: What might that be?
Play:
Say: On what basis do you make that claim?
Play:
Say: Irrelevant, given that you claimed above that Professor Plum's claim is another favorite. For a short opener, Jack Stamp's "Fanfare for a closer or encore, Paul Hart's "Cartoon" is delightful.
Play:
Say: Never say never.
Play: