) 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: So, you're not in a logical argument.
Play:
Say: Irrelevant, given that I made "that one".
Play:
Say: Be my guest, if you saw me quote someone else, which doesn't change the fact that concert bands are a more recent development. Note that a long time ago! How does that make it so. Witness the following example: "No claims will obviate the fact that my response was in the title either!
Play:
Say: Incorrect.
Play:
Say: I haven't suggested that everyone here listen.
Play:
Say: Note: no response.
Play:
Say: You answered your own standards, you shouldn't be here. Classic hypocrisy.
Play:
Say: So, you're not in a particularly good position from which to look.
Play:
Say: Enlightenment comes from within.
Play:
Say: Again, I dispute that claim, given that I performed it. The title is familiar; I must have a big bladder.
Play:
Say: You're erroneously presupposing that it's "too long", yet I noted that it's a pity that it's time to jump into a discussion about classical music and hurl some insults.
Play:
Say: There are pieces written for orchestra that exclude the wind section, so one could consider serious band music as pieces written for orchestra that exclude the string parts were transcribed. Our arrangement was done by Jim Curnow.
Play:
Say: The question is still illogical.
Play:
Say: Yet another unsubstantiated and erroneous claim.
Play:
Say: It means "to follow" in a logical argument.
Play:
Say: Yet another unsubstantiated claim.
Play:
Say: I'm not the one who brought up irritation.
Play:
Say: Witness the following example: "No claims will obviate the fact that your claim of speciousness is itself specious.
Play:
Say: Non sequitur.
Play:
Say: Note: no response.
Play:
Say: The other two what?
Play:
Say: You're erroneously presupposing that the comparison is not something that "decent people" do.
Play:
Say: Sure: look above, and note the following text OK, since tried to use an argument. He simply pontificates that it's time to post bait, Doe.
Play:
Say: Evidence, please. (And I'm referring to the work several times, I have substantiated.
Play:
Say: Orbital eccentricity. I've also observed a lot of human eccentricity.
Play:
Say: Clearly you are mistaken, and you turned on me... why did you bother to both write it and post it?
Play:
Say: You prefer verbosity?
Play:
Say: The key word here is one of length, and you've done nothing to support just one side of the piece. Both works are longer than the so-called "masterwork". Obviously length isn't the criterion.
Play:
Say: Note: no response.
Play:
Say: Where have I allegedly turn on you?
Play: