) 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: Meanwhile, you're already out of strikes.
Play:
Say: What alleged "pissing"? What alleged pontification of mine?
Play:
Say: You've had plenty of time to post bait, Doe.
Play:
Say: So, you're not in a logical fashion.
Play:
Say: Why? Barnes doesn't use the same subthread as that someone else's message.
Play:
Say: Obviously not, given the newsgroup is about. That's makes you the one claiming that a long time ago! How does that make it so. Witness the following example: "No claims will obviate the fact that your remark is allegedly sequitur, if you think is irrelevant.
Play:
Say: Yet more evidence that your reply was made.
Play:
Say: Classic pontification.
Play:
Say: Classic unsubstantiated and erroneous claim.
Play:
Say: Who is Ed Bates and how is he relevant to this discussion to refer to. Furthermore, who do you make that claim?
Play:
Say: What alleged "cards"?
Play:
Say: So the Marine band ignores quality when programming a concert? You routinely program dreck as often as quality pieces?
Play:
Say: That's also your problem.
Play:
Say: Yet more evidence that you are not interested in any serious discussion here.
Play:
Say: Yes you did; look at your other responses to me: Date: Sun, 08 Jul 2001 17:35:27 -0400 Now, let's look at the first line above, it looks like it's about Ed Casey's erroneous warning. If you have not given any reason for claiming that the Barnes variations are too long.
Play:
Say: Then what is irritating about it? The harmonic structure?
Play:
Say: Why? Playing more net cop?
Play:
Say: On the contrary, it's quite relevant to the work?
Play:
Say: No substantiation was provided. Claiming that it's shorter than Bartok's "Concerto for Orchestra", to which I compared the *structure* to the work several times, I have substantiated.
Play:
Say: Multiple.
Play:
Say: I invite you to do so.
Play:
Say: On the contrary, you asked a question.
Play:
Say: What alleged pontification of mine?
Play:
Say: Classic pontification.
Play:
Say: But your guess was a good one.
Play:
Say: Impossible, given that no version of Eliza can argue logically.
Play:
Say: Note: no response.
Play:
Say: You must have performed it, but too many years ago.
Play:
Say: What might that be?
Play:
Say: In the Bartok, the solo jumps from instrument to instrument or section to section or soloist to soloist or section to section, just as in the first place. Now, exactly who asked for information?
Play: