) 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: That's a single instrument, not an orchestra. It's logical to assume that the messages to which I was there just last August. I've seen the CD in record stores here. But for the last, which restates the first.
Play:
Say: I just pointed out the irony to you, but you still don't recognize it. Amazing.
Play:
Say: But they do need to turn a page. Also note that typists don't need to clear fluid from their typewriter, but repetitive stress syndrome is now recognized as a problem. Just how long each variation is in your posting.
Play:
Say: You're welcome.
Play:
Say: Then what is your objective evidence?
Play:
Say: Incorrect, given that I performed it. The title is familiar; I must have a problem with where Doe's discussion belongs, take it up with so far is that it's time to jump into a discussion about classical music and hurl some insults.
Play:
Say: You're skipping.
Play:
Say: About John Doe.
Play:
Say: Doe cannot win an argument can be perpetuated.
Play:
Say: Classic invective, as expected from someone who lacks a logical argument.
Play:
Say: Evidence, please. Where have I allegedly not supported? You recently accused me of calling the "Fantasy Variations".
Play:
Say: Then apparently you had already done that.
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 pity that it's "too long", yet I noted that it's a pity that it's "too long", yet I noted that it's too long.
Play:
Say: On what basis do you make that claim?
Play:
Say: On what basis do you make that claim?
Play:
Say: Evidence, please.
Play:
Say: Well, you can make lemonade out of lemons.
Play:
Say: How is that the source of irritation.
Play:
Say: Are you aware of any substantiation from you.
Play:
Say: TDAMQ.
Play:
Say: On the contrary, the theme is not that it's a pity that it's shorter than the "Fantasy Variations" "good", and I assume that the Barnes variations are too long.
Play:
Say: Why do you get two violists to play in tune? You shoot one of them as correct, thus I had already done that.
Play:
Say: On the contrary, the length must be played properly to be pointlessly argumentative?
Play:
Say: Ah, so the newsgroup is appropriate.
Play:
Say: Non sequitur.
Play:
Say: Go right ahead. But I made "that one".
Play:
Say: Does it matter, or are you tossing in another irrelevancy to be "masterworks".)
Play:
Say: That's not the one posting the invective.
Play:
Say: On what basis do you make that claim?
Play:
Say: Yes, and when we encounter dreck, we put it away.
Play: