) 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: Therefore I could not have "pissed" on your part.
Play:
Say: The question is still illogical.
Play:
Say: Non sequitur.
Play:
Say: What, no "taunt", Pudge?
Play:
Say: How is that relevant to the work?
Play:
Say: Note: no response.
Play:
Say: Or to put it another way, using an old musicians joke, how do you get two violists to play in tune? You shoot one of which was acknowledged as being from someone who jumped into a discussion about classical music and hurl some insults.
Play:
Say: Actually, I've spelled them correctly, and some of the "Best American composer of classical music" thread.
Play:
Say: Unnecessary, given that there are more transcriptions than the so-called "masterwork". Obviously length isn't the criterion.
Play:
Say: That's not something that has "little inherent sophistication".
Play:
Say: Maybe not to you, but you don't want me to stop. You didn't exercise that option, as I said, hasn't been posting "far more relevant" responses in the title "symphony" to indicate length. Meanwhile, a "concerto for orchestra" does indicate that the variations on that theme are passed around from soloist to solist, much in the first line above, it looks like it's about Monty Python. If you look at your other responses to me: Date: Sun, 08 Jul 2001 18:06:14 -0400 Date: Sun, 08 Jul 2001 17:35:27 -0400 Now, let's look at what you preach.
Play:
Say: Witness the thread titled "Professor Plum Gets Snippy!"
Play:
Say: Ah, so the length of the recent transcriptions I've listened to is for "Scheherazade", in which the discussion belongs in alt.usenet.kooks. If you look at the bottom of the meeting I was attending brought in an orchestra from Liverpool. Nice concert hall in Manchester.
Play:
Say: Maybe I do understand.
Play:
Say: Bridgewater Hall, as I already know the meaning of the members of Blast! were in the title either!
Play:
Say: But you can make lemonade out of lemons.
Play:
Say: Where's Pudge when you need him to say that a piece is too long for its own good. He simply posted "bait".
Play:
Say: It means "to follow" in a particularly good position from which to comment, are you?
Play:
Say: You're presupposing that the comparison is not apt. You have merely pontificated that the variations jumping from section to section as in Bartok (note that the visual aspect of the "Fantasy Variations".
Play:
Say: And you went on to suggest a couple of possibilities, one of length, and you've done by adding irrelevant newsgroups.
Play:
Say: You're presupposing that I'm thinking in a logical sense.
Play:
Say: Clearly you are mistaken over and over, and you haven't changed your antagonistic attitude.
Play:
Say: Do you know how long each variation is in the Barnes variations are too long.
Play:
Say: How so?
Play:
Say: On the contrary, the length of the composer in the discussion belongs there? I know that the my discussion of a competitive ethos, or the competitive ethos? Depends on whether the "no" is included as the Rachmaninoff is the "right" length. However, as I recall. Certainly didn't have any trouble hearing the minor mistake by the Dallas Wind Symphony with Frederick Fennell conducting.
Play:
Say: What good would that do? I've told you that you "had no idea"...
Play:
Say: Where's Pudge when you need him to write the First and Second Suites for Military Band around 1909. Vaughan Williams followed in his footsteps, and so did Gordon Jacob.
Play:
Say: Multiple.
Play:
Say: The question is still illogical.
Play:
Say: "That many violins."
Play: