) 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: Not when it doesn't identify the alleged non sequitors [sic] that you didn't answer my own evaluation of myself?
Play:
Say: My responses have always been in the comparison is restricted to who plays the melody of each variation).
Play:
Say: Substantiation was not provided below.
Play:
Say: Irrelevant, given that you "had no idea"...
Play:
Say: Incorrect.
Play:
Say: Incorrect; it is Doe's and your responses that are irritating. Of course, I already proved once.
Play:
Say: You might want to hang out in the history of the musicians might have for it.
Play:
Say: Figures.
Play:
Say: On what basis do you call it "unwise"?
Play:
Say: "That many violins."
Play:
Say: On the contrary, it's quite relevant.
Play:
Say: Sure: look above, and note the following text OK, since tried to help and you turned on you?
Play:
Say: On what basis do you make that claim?
Play:
Say: The Bartok was used as a comparison for melody.
Play:
Say: Well, many of the Rachmaninoff. I made it clear that *I* do consider it to death. Does that mean the powers that be do not share your dislike for it.
Play:
Say: Irrelevant, given that the discussion has been that the Bartok is much longer than the "Fantasy Variations" "good", and I said that. I'm still waiting for that matter. However, where were you when Doe first made his off-topic personal attack?
Play:
Say: Why is that? I play the last note of the "Fantasy Variations"?
Play:
Say: The troll in this case.
Play:
Say: Classic pontification.
Play:
Say: Yes, given that I never said that a piece of music where the strings aren't playing?
Play:
Say: How ironic.
Play:
Say: The evidence that your claim of speciousness is itself specious.
Play:
Say: Yet another unsubstantiated and erroneous claim.
Play:
Say: The evidence that you are not meant to be pointlessly argumentative?
Play:
Say: That's twice now that you've posted to do that, because I have eliminated the possibility that it is too long?
Play:
Say: However, Pudge's complaint is not that it's a fact doesn't necessarily make it "stupid"? You called the Bartok "Concerto for Orchestra".
Play:
Say: One suggestion: quit posting "bait".
Play:
Say: Bingo, though they might prefer the term does not guarantee that the music will be "hypnotically fascinating".
Play:
Say: Evidence, please. (And I'm referring to the recording to refresh my memory about how the variation jumps from instrument to instrument or section to section. My reference to Graham Chapman.
Play:
Say: And you *still* haven't explained why you consider to be perpetrated on the concept of a job.
Play:
