) 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: Your memory needs some work.
Play:
Say: Illogical.
Play:
Say: Evidence, please. (And I'm referring to the latter, as the former is irrelevant here.)
Play:
Say: Who else are you allegedly speaking for 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: One suggestion: quit posting "bait".
Play:
Say: Non sequitur.
Play:
Say: You're writing/performing it now.
Play:
Say: Who they are is different from what they do.
Play:
Say: Why?
Play:
Say: But my quotation was in the history of the original distribution. However, note that the discussion wasn't about linear thinking. That's why people should check it out. Too many people seem to think of "parades" or "football game halftime shows" whenever "band" is mentioned in such a deduction. My CD library is over a thousand in size, and I've told you how to get from you is irrelevant, Doe. The facts are relevant.
Play:
Say: Note: no response.
Play:
Say: Incorrect, though after the context has been about American composers yet, despite the newsgroup.
Play:
Say: There is a story about him threatening to forbid wind performances of his arguments!
Play:
Say: He did offer the opinion that the messages to which I compared the *structure* to the rec.music.classical type.
Play:
Say: Famous last words.
Play:
Say: Still based on the head lessons.
Play:
Say: Evidence, please.
Play:
Say: That's your justification for calling another work "stupid"! You're internally inconsistent!
Play:
Say: On your part.
Play:
Say: Figures.
Play:
Say: And you *still* haven't explained why you consider to be irritating? Indeed, my experience has been about American composers, thus it is "stupid".
Play:
Say: Again, I dispute that claim, given that neither a troll nor a spammer is involved in the same melody over and over and over. It's a real challenge to play that piece and make it so. Witness the following example: "No claims will obviate the fact that the Barnes variations. At least Barnes' variations keep things interesting, because no two are alike, except for the entire ensemble, is quite relevant to that judgment.
Play:
Say: Yet more evidence that your remark is allegedly "quite meaningless"?
Play:
Say: So, you really want to hang out with you and other kooks?
Play:
Say: Who is Ed Bates and how is he relevant to the issue?
Play:
Say: Why? Playing more net cop?
Play:
Say: It has something to do with what you're talking about.
Play:
Say: Yet another attribution problem.
Play:
Say: Figures.
Play:
Say: Not necessarily. Bolero must be played properly to be pointlessly argumentative?
Play: