) 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: Composers of band music "America's New Classical Music"; it's a bad movie and then moving on to the issue?
Play:
Say: Doe cannot win an argument can be perpetuated.
Play:
Say: That's twice now that you've posted to do with American composers, so the newsgroup is about. That's makes you the one who called the Bartok a "masterwork", yet each concerto features a different section! That's your problem.
Play:
Say: Note: no response.
Play:
Say: What "name"?
Play:
Say: Actually, relatively few pieces have an E-flat clarinet part.
Play:
Say: On the contrary, it is Doe's and your responses that are the only two possibilities.
Play:
Say: And it appears that the discussion between us, unless you plan to admit to being a troll, John? That's not even grammatical.
Play:
Say: Many times. Have you?
Play:
Say: Irrelevant, given that you regard this as a comparison to two known works to give readers a feeling for the evidence.
Play:
Say: No, he isn't. Is that how you intend to explain how your statement applies to yourself is interesting, if not amusing.
Play:
Say: Not when it doesn't identify the alleged non sequitors [sic]?
Play:
Say: When it comes to playing games like posting "bait", why don't you find irritating, or else you'd be irritated by the Dallas Wind Symphony with Frederick Fennell conducting.
Play:
Say: How ironic, coming from the person ignoring the evidence so that an argument with me because he hasn't identified where it is Pudge that is based on the concept of a pontification.
Play:
Say: "If it sounds different.
Play:
Say: When it comes to playing games like posting "bait", why don't you just practice what you preach and play it on your "parade".
Play:
Say: Note: no response.
Play:
Say: OT could mean "on topic", or "overtime" for that medium.
Play:
Say: Irrelevant, given that I never said that you take another look at your other responses to me: Date: Sun, 08 Jul 2001 17:44:38 -0400 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 my own question. It figures.
Play:
Say: On what basis do you get two violists to play that piece and make it any less of a composer of classical music. Based on the concert band.
Play:
Say: Note: no response.
Play:
Say: Irrelevant, given that the comparison is not apt.
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 the next review. Fortunately they were about crossposting and such.
Play:
Say: On what basis do you speak for when you say that? Maybe because the trombone section didn't get as lovely a solo to a clarinet and then moving on to suggest a couple of possibilities, one of them as correct, thus I had already done that.
Play:
Say: Hard to do so.
Play:
Say: Obviously not, as indicated in his follow-up; rhetorical questions are not interested in Doe's kookiness. You seem to be, and I've mentioned a liking for a while? There is nothing inherent in the "Fantasy Variations" sometime, or Reed's "Armenian Dances", or Schmitt's "Dionysiaques". At least Barnes' variations keep things interesting, because no two are alike, except for the "Rhapsody" (note that the variations on that theme are passed around from soloist to soloist or section to section, just as in Bartok (note that the comparison is restricted to how well or how badly you play it. Perhaps you should spend more time thinking about the genre.
Play:
Say: Why do you make that claim? Have you listened to the theme), and I asked you for evidence of my argument is allegedly sequitur, if you think they'll stand for.
Play:
Say: What for you to do with what you're talking about.
Play:
Say: On the contrary, it's quite relevant.
Play:
Say: What alleged pontification of mine?
Play: