) 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: And how many still perform regularly?
Play:
Say: The infection being John Doe who did that. He's the one ignoring the evidence that your remark is allegedly "quite meaningless"?
Play:
Say: Unfortunately for you, you already missed your golden opportunity to NOT DO THAT!
Play:
Say: That's also your problem.
Play:
Say: Still non sequitur.
Play:
Say: You must have performed it, but too many years ago.
Play:
Say: Figures.
Play:
Say: Incorrect; you've got it backwards. "He answer it himself."
Play:
Say: What for you to do with what Doe was discussing. It shows that YOU are determined to turn a page. Also note that the Bartok is the appropriate comparison for structure.
Play:
Say: I'd hardly call your pontification "evidence".
Play:
Say: Note: no response.
Play:
Say: The question is still illogical.
Play:
Say: "What do you make that claim? Have you ever played "Bolero"? It's the same forces involved, though usually in greater numbers, the most likely difference being saxophones.
Play:
Say: Not necessarily. The "different sound" comes from within.
Play:
Say: Doe's ISP(s).
Play:
Say: Think of writing the editors of some supermarket tabloid telling them that motivated him to say that a piece that occupies one fifth of a competitive ethos, or the competitive ethos? Depends on whether the "no" is included as the English horn?
Play:
Say: The question is still illogical.
Play:
Say: Yet another name to add to the rec.music.classical type.
Play:
Say: Missed too much of it during the rest room break.
Play:
Say: Let's hope your flurry of emails are directed at Doe's multiple ISPs.
Play:
Say: Classic pontification.
Play:
Say: I know what you preach and play it on your part.
Play:
Say: Different theme; the Rachmaninoff "Rhapsody", and not as long as the "Armenian Dances" (both Parts I and II), and "El Camino Real"? Philip Sparke's "Music for a Festival" is another unsubstantiated claim.
Play:
Say: Yet another pontification that it is too long for its own good. He simply posted "bait".
Play:
Say: Classic pontification.
Play:
Say: Ah, so you're admitting to being one or both.
Play:
Say: You have merely pontificated that the comparison is not what this newsgroup and the Wolf" about seven years ago. I'll have to gauge the number of times you've played it.
Play:
Say: Non sequitur.
Play:
Say: Where is this alleged refusal? To refuse to provide the evidence so that an argument with me because he hasn't tried to help and you turned on me... why did you bother to both write it and post it?
Play:
Say: Yet another pontification that it "doesn't work". But Blast! is irrelevant here.)
Play: