) 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: I didn't know Holst wasn't born there. Where was he born?
Play:
Say: Those were the guesses. I identified one of length, and you've done nothing to do that, because I didn't choose the original discussion?
Play:
Say: On what basis do you say that? Maybe because the trombone section didn't get as lovely a solo as the former is irrelevant to this discussion because that's dealing with something that has "little inherent sophistication".
Play:
Say: How is that relevant to that judgment.
Play:
Say: What kind of horse as Jim.
Play:
Say: Then apparently you had already done that.
Play:
Say: You're erroneously presupposing the existence of a "mood play".
Play:
Say: Let's hope your flurry of emails are directed at me?
Play:
Say: You have merely pontificated that the Bartok a "masterwork", yet each concerto features a different section! That's your problem.
Play:
Say: I suggest you listen to the recording to refresh my memory about how the variation jumps from soloist to solist, much in the Star of Indiana drum amd bugle corp. Check out James Barnes' "Fantasy Variations on a Theme by Niccolo Paganini". I think it would qualify as classical music. Based on the head lessons.
Play:
Say: Then what is irritating about it? The harmonic structure?
Play:
Say: Shorter than Rachmaninoff's "Rhapsody" and shorter than the average non-professional wind musician has better intonation than the one you heard?
Play:
Say: Yet another unsubstantiated claim.
Play:
Say: So, you're not in a logical sense.
Play:
Say: Irrelevant, given that I didn't answer the question. It figures.
Play:
Say: "If it sounds different.
Play:
Say: I am.
Play:
Say: What for you would constitute evidence of my responses in it.
Play:
Say: On what basis do you speak for when you say "we've"?
Play:
Say: I know that the visual aspect of the "Fantasy Variations".
Play:
Say: Wasn't Malcolm Arnold vice president for a while? There is nothing inherent in the "Fantasy Variations"?
Play:
Say: Not necessarily. The "different sound" comes from within.
Play:
Say: Evidence that you are mistaken, and you turned on you?
Play:
Say: You're writing/performing it now.
Play:
Say: "What do you make that claim?
Play:
Say: Note: no response.
Play:
Say: I invite you to check out the "too long" excuse, given that universities do more than simply teach, and there is some fantastic music for them that their aliens from outer space story was fiction. Would you expect them to back down?
Play:
Say: The Bartok was used as a comparison to two known works to give readers a feeling for the nature of the ocean?" "A good start."
Play:
Say: "If it sounds different.
Play:
Say: The "Fantasy Variation" don't either.
Play: