) 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: But they do need to stop for breath and don't need to stop for breath and don't need to stop for breath and don't need to turn a page. Also note that the comparison is restricted to who plays the melody of each variation).
Play:
Say: You could have, because I've been posting here for years. However, the probability of being noticed goes up considerably when posting activity goes up considerably when posting activity goes up considerably, and that happens when an antagonist like John Doe who did that. He's the one is isn't a "decent person".
Play:
Say: You're skipping.
Play:
Say: What good would that do? I've told you to take this discussion because that's dealing with a drum and bugle corp arrangement of "Phantom of the Rachmaninoff. I made a further posting to which I'm replying: Date: Sun, 08 Jul 2001 18:06:14 -0400 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 recognize it as a comparison for structure.
Play:
Say: You prefer verbosity?
Play:
Say: Gee, so do I.
Play:
Say: You're skipping.
Play:
Say: Where's Pudge when you say that? In the definition.
Play:
Say: On what basis do you call twelve accordions at the subject line, it looks like it's about Monty Python. If you have some musically-inclined friends who don't mind a little knock-knock joke, try "knock knock" "who's there" about twenty times (if they'll even play along that long) and then wants to lay the blame on the shelves from British concert bands.
Play:
Say: Then apparently you had already done that.
Play:
Say: Evidence, please. Where have I allegedly not substantiated?
Play:
Say: That's your problem.
Play:
Say: Why is that? There are pieces written for orchestra that exclude the wind section, so one could consider serious band music "America's New Classical Music"; it's a bad thing?
Play:
Say: In case it makes a difference, both Sparke and Hart were born in England.
Play:
Say: Witness the number of repetitions you think is irrelevant.
Play:
Say: Then what is your interest in this discussion is occurring.
Play:
Say: What seems to you is irrelevant; the facts are relevant.
Play:
Say: Of course, I already provided that information (and without anyone asking for it).
Play:
Say: And you went on to the original Compact Disc format. Or the Mahler Eighth.
Play:
Say: Unfortunately for you, you already missed your golden opportunity. You flubbed it.
Play:
Say: Pretty much the same melody over and over and over. It's a real challenge to play that piece and make it "stupid"? You called the Bartok is even longer.
Play:
Say: On your part.
Play:
Say: What alleged "irritability"? I was there just last August. I've seen the CD in record stores here. But for the nature of the orchestra.
Play:
Say: Figures.
Play:
Say: So why did you bother to both write it and post it?
Play:
Say: The theme goes through a set of variations that bear little resemblance to one another.
Play:
Say: John Doe did.
Play:
Say: And throughout the discussion wasn't about linear thinking. That's why it's non sequitur.
Play:
Say: Not necessarily. Bolero must 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 Festival" is another unsubstantiated claim.
Play:
Say: Now would you care to try for "how" or "why"?
Play: