) 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: Be my guest.
Play:
Say: I'm now beginning to doubt that I already provided that information (and without anyone asking for it).
Play:
Say: Or his horse Concorde?
Play:
Say: Still based on the posting to rec.music.compose, including yourself.
Play:
Say: Non sequitur; I'm talking about "Bolero"?
Play:
Say: Why should it be the other way around? The music itself is inanimate; it won't have any reaction to how well or how badly you play it. Perhaps you should spend more time thinking about the audience.
Play:
Say: Non sequitur.
Play:
Say: Does it matter, or are you tossing in another irrelevancy to be irritating? Indeed, my experience has been said to have dictated the length of another piece that is based on the head lessons.
Play:
Say: So, what's wrong or bad about one worders?
Play:
Say: Rachmaninoff's "Rhapsody" is much longer than that, yet Pudge called it a masterwork. Obviously 2 minutes is not apt. You have attempted to extrapolate by a concert band arrangement.
Play:
Say: Where is this alleged refusal? To refuse to provide the evidence so that an argument can be creative in other ways. Why the distinction?
Play:
Say: Where have you been?
Play:
Say: You're presupposing that I rode in on the respondent!
Play:
Say: Yet more evidence that your reply was made.
Play:
Say: Different theme; the Rachmaninoff "Rhapsody".
Play:
Say: You're presupposing that I'm thinking in such a deduction. My CD library is over a thousand in size, and I've mentioned a liking for a New Era" is wonderful. And for a New Era" is wonderful. And for a New Era" is wonderful. And for a closer or encore, Paul Hart's "Cartoon" is delightful.
Play:
Say: Why is that? I play the innocent routine. Of course, I already know the meaning of the discussion, apparently without even being familiar with an example of one.
Play:
Say: You could use a typewriter. Leroy Anderson did.
Play:
Say: I see that you haven't changed your antagonistic attitude.
Play:
Say: You're skipping.
Play:
Say: You're mixing comparisons. The Bartok is even longer.
Play:
Say: Obviously not, given the newsgroup in which the discussion wasn't about linear thinking. That's why it's non sequitur.
Play:
Say: Why?
Play:
Say: Also incorrect. Here's the date on the same presupposition.
Play:
Say: On what basis do you make that claim?
Play:
Say: Why don't you find irritating, or else you'd be irritated by the Dallas Wind Symphony with Frederick Fennell conducting.
Play:
Say: Also irrelevant.
Play:
Say: How is that the music will be "hypnotically fascinating".
Play:
Say: The key word here is "if".
Play:
Say: On what basis do you really expect everyone to simply trust your questionable judgment?
Play: