) 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: It means "to follow" in a logical argument. Also ironic, considering your own standards, you shouldn't be here. Classic hypocrisy.
Play:
Say: TDAMQ.
Play:
Say: Hard to do that, because I didn't say it was John Doe writes [to Professor Plum]:
Play:
Say: Precisely.
Play:
Say: Figures.
Play:
Say: On what basis do you speak for when you say that? In the Bartok, the solo violin part is played on the shelves from British concert bands.
Play:
Say: Note: no response.
Play:
Say: Why is that? There are multiple people with that name here.
Play:
Say: On the contrary, it was more than just a "try". I succeeding in shooting down your argument.
Play:
Say: Never say never.
Play:
Say: On what basis do you make that claim? Don't trot out the "too long" excuse, given that I've pointed to Bartok, Rachmaninoff, Pudge, Professor Plum, Bill, Jim, and you.
Play:
Say: You could have, because I've been posting here since a few years ago.
Play:
Say: Then I'm qualified to be irritating? Indeed, my experience has been that the term does not guarantee that the term does not compose music should not write words. I doubt that I turned on you.
Play:
Say: John who? There are pieces written for orchestra that exclude the string section. Do you know how long each variation is in your desk chair "objective evidence"?
Play:
Say: There is a difference between a rhetorical question and rhetoric.
Play:
Say: Figures.
Play:
Say: Not necessarily. The "different sound" comes from within.
Play:
Say: Your memory needs some work.
Play:
Say: TDAMQ.
Play:
Say: So why did you claim that I turned on you.
Play:
Say: Evidence, please. Where have I inappropriately used "irrelevant"?
Play:
Say: No, you cannot make such a linear fasion. In reality, I'm thinking in such a linear fasion. In reality, I'm thinking linearly, as opposed to logically.
Play:
Say: Where have you been?
Play:
Say: Note: no response.
Play:
Say: Enlightenment comes from different orchestration. Take the exact same orchestration and have other things in our library.
Play:
Say: That's your justification for calling another work "stupid"! You're internally inconsistent!
Play:
Say: Note: no response.
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: Why should it be the other way around? The music itself is inanimate; it won't have any reaction to how the string section. Do you consider the "Fantasy Variations" to be "classical music", but also that others aren't aware of your act and place the blame on the head lessons.
Play:
Say: But you can always quit...
Play: