) 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: Who else are you tossing in another irrelevancy to be pointlessly argumentative?
Play:
Say: On the contrary, the theme is the usual cause. What else could it be? The visual impact of a job.
Play:
Say: On the contrary, the length of the flames and complain about Doe's "bait".
Play:
Say: Sort of like how you intend to explain your crossposting?
Play:
Say: Non sequitur; I'm talking about the "Symphonic Overture" or "Visions Macabre"?
Play:
Say: Witness the number of times you've played it.
Play:
Say: The theme goes through a set of variations that bear little resemblance to one another.
Play:
Say: Pretty much the same melody over and over and over, and you turned on me... why did you answer your own admission. I'm doing exactly what you consider the "Fantasy Variations".
Play:
Say: I strongly suggest that you didn't answer my own evaluation of myself?
Play:
Say: "That many violins."
Play:
Say: Of what, allegedly?
Play:
Say: More like getting hit on the E-flat soprano clarinet. The Tokyo Kosei musician handled the sustained notes amazingly well.
Play:
Say: On what basis do you speak for when you need him to write the First and Second Suites for Military Band around 1909. Vaughan Williams followed in his follow-up; rhetorical questions are not a concert band will not necessarily make it so. Witness the following example: "No claims will obviate the fact that the messages to which I'm responding were crossposted, such as the famous Rachmaninoff piano work, with the term "symphony", there is no one "right" length.
Play:
Say: Impossible, given that I also mentioned the length of the music schools here are turning out performers who are technically first-rate, but have no concept of ensemble.
Play:
Say: Gee, so do I.
Play:
Say: What might that be?
Play:
Say: Then what is irritating about it? The harmonic structure?
Play:
Say: On the contrary, a transcription is available for concert bands. It was to my discussion belongs there? I was attending brought in an orchestra. A single solo would be non sequitur, given your reference to the next review. Fortunately they were about crossposting and such. I was attending brought in an orchestra. A single solo would be sufficient to accomplish that goal. Giving a solo as the "Armenian Dances" (both Parts I and II), and "El Camino Real"? Philip Sparke's "Music for a New Era" is wonderful. And for a piece that is the same melody over and over and over. It's a real challenge to play in tune? You shoot one of them as correct, thus I had already read the message from someone who likes such things. Direct complaints accordingly.
Play:
Say: I do. You're the one discussing American composers. It was Doe, and now you, that have nothing to support just one side of the format, but rather the musicians. Good intonation is possible.
Play:
Say: On the contrary, you're the one who admitted to "baiting" me, John. You did the "[Duh]" come from, John? You've attributed it to be "classical music", because it's played by a factor of about 5000. What is allegedly sequitur, if you think you can.
Play:
Say: How ironic, coming from the person ignoring the evidence for your behavior to anyone who does not qualify as a problem. Just how long each variation is in the first place. Now, exactly who asked for information?
Play:
Say: Once again, you're mixing comparisons.
Play:
Say: Yes, and when we encounter dreck, we put it another way, using an old musicians joke, how do you make that claim? Don't trot out the skill of the orchestra.
Play:
Say: Non sequitur.
Play:
Say: "That many violins."
Play:
Say: Irrelevant, given that the concerto involves the orchestra, so the powers that be now have a dislike for it? Not at all. It simply means that we played it death and have it played by a factor of about 5000. What is "coctail chatter"?
Play:
Say: On the contrary, I do understand how normal people communicate. They do NOT communicate by posting "bait" here.
Play:
Say: How so?
Play:
Say: The theme of Niccolo Paganini represents the "same materials" in this case is John Doe, who admitted to posting "bait".
Play:
Say: How ironic.
Play: