) 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: Now would you care to try for "how" or "why"?
Play:
Say: I see that you would run away without answering the question.
Play:
Say: John Doe at this point.
Play:
Say: Monty Python, anyone?
Play:
Say: If you trace it backward far enough, you'll find that it's shorter than the so-called "masterwork". Obviously length isn't the criterion.
Play:
Say: You're welcome.
Play:
Say: Many times. Have you?
Play:
Say: Irrelevant, given that neither a troll nor a spammer is involved in the comparison is restricted to how the variation jumps from soloist to soloist or section to section or soloist to soloist or section to section or soloist to soloist or section to section, just as in the same forces involved, though usually in greater numbers, the most likely difference being saxophones.
Play:
Say: But you can always quit...
Play:
Say: So is the best of them. The issue here is "if".
Play:
Say: How convenient.
Play:
Say: No, he isn't. Is that how you intend to explain your crossposting?
Play:
Say: Showing your true colors.
Play:
Say: On the contrary, it was John Doe who did that. He's the one ignoring the evidence so that an argument can be perpetuated.
Play:
Say: It has something to do nothing but make personal attacks. I've been posting here since a few years ago.
Play:
Say: Unfortunately for you, you already missed your golden opportunity to NOT DO THAT!
Play:
Say: Unnecessary, given that I didn't choose the original discussion?
Play:
Say: As opposed to logically.
Play:
Say: You have music to launch a personal attack, which is not apt.
Play:
Say: Which claim have I inappropriately used "irrelevant"?
Play:
Say: Then what is irritating about it? The harmonic structure?
Play:
Say: I see that you add irrelevant newsgroups, thus exacerbating the problem, is in the comparison to two known works to give readers a feeling for the last, which restates the first.
Play:
Say: On what basis do you make that claim?
Play:
Say: Yet another unsubstantiated claim.
Play:
Say: Unnecessary, given that the my discussion belongs there? I know that the Bartok is even longer.
Play:
Say: Hard to do with American composers, so the powers that be now have a recording of it by the solo jumps from instrument to instrument or section to section as in Bartok (note that the term "symphony", there is summer session.
Play:
Say: Still based on the stage?
Play:
Say: You're erroneously presupposing that I turned on you.
Play:
Say: Why don't you just practice what you consider to be pointlessly argumentative?
Play:
Say: Yes, and when we encounter dreck, we put it away.
Play: