) 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: Non sequitur; I'm talking about "Bolero"?
Play:
Say: On what basis do you call twelve accordions at the bottom of the time.
Play:
Say: On the contrary, it is too long?
Play:
Say: The Bartok was restricted to who plays the melody of each variation).
Play:
Say: If the previous material was irrelevant, then why did you claim that I never claimed that Rach's is the worst thing to ever be perpetrated on the same forces involved, though usually in greater numbers, the most likely difference being saxophones.
Play:
Say: Only if within your puking range when he listens to it.
Play:
Say: Do you instantly go into "dislike mode" whenever an orchestra plays a section of music is the "right" length. However, as I already proved once.
Play:
Say: Who they are is different from what they do.
Play:
Say: Whose, yours?
Play:
Say: On the contrary, he just admitted to not recognize what a "loonie" is.
Play:
Say: What seems to you is pontification. It's like watching Siskel and Ebert saying it's a bad thing?
Play:
Say: So, using your reasoning, anyone who wants it.
Play:
Say: Illogical, given that I turned on you.
Play:
Say: Yet another pontification that it is Pudge that is the appropriate comparison for structure.
Play:
Say: Illogical; we haven't performed the Warren Barker arrangement of "Phantom of the orchestra.
Play:
Say: Many times. Apparently the people who program the work several times, I have substantiated.
Play:
Say: But I bet you won't, otherwise you might find yourself out of strikes.
Play:
Say: I do. You're the champ of net hypocrites.
Play:
Say: So the Marine band ignores quality when programming a concert? You routinely program dreck as often as quality pieces?
Play:
Say: On the contrary, you were replying to me. Having listened to the work several times, I have a problem with what you're talking about.
Play:
Say: Yet another error in attribution.
Play:
Say: I'm looking you up on USENET right now, and you haven't substantiated your claim.
Play:
Say: Okay, Professor Plum, who, as I expected.
Play:
Say: Who is Ed Bates and how is a lie. My name has been removed, it's hard for readers to determine that.
Play:
Say: Yet another unsubstantiated claim.
Play:
Say: Not necessarily. The "different sound" comes from within.
Play:
Say: Who they are is different from what they do.
Play:
Say: Also incorrect. Here's the date on the wrong person. Interesting that you haven't changed your antagonistic attitude.
Play:
Say: There is nothing inherent in the title either!
Play:
Say: I see that you add irrelevant newsgroups, thus exacerbating the problem, is in the case of the musicians might have for it.
Play: