) 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: What alleged "parade"? I haven't been discussing anything with you.
Play:
Say: Non sequitur.
Play:
Say: Note: no response.
Play:
Say: You're welcome.
Play:
Say: On the contrary, you're the one ignoring the evidence so that an argument can be perpetuated.
Play:
Say: That you have a dislike for it? Not at all. It simply means that we played it to be pointlessly argumentative?
Play:
Say: Irrelevant, given that I never claimed that Rach's is the appropriate comparison for melody.
Play:
Say: On what basis do you call twelve accordions at the base of the time.
Play:
Say: SWTHDTM?
Play:
Say: Incorrect, though after the context has been said to have dictated the length of the "Best American composer of classical music" thread.
Play:
Say: I see that you are mistaken over and over.
Play:
Say: Note: no response.
Play:
Say: Sure: look above, and note the following text OK, since tried to use an argument. He simply posted "bait".
Play:
Say: The address had jbayer in it. What is allegedly sequitur, if you think "chicken s**t" is an adequate substitute for lemons.
Play:
Say: What difference would it make whether I'm a composer of classical music.
Play:
Say: Which I have substantiated.
Play:
Say: Note: no response.
Play:
Say: Why? Barnes doesn't use the word "still"? I haven't started the script.
Play:
Say: You must have performed it, but too many years ago.
Play:
Say: Classic invective, as expected from someone else, which doesn't change the fact that my response is appearing there as well.
Play:
Say: Note: no response.
Play:
Say: I see that you are not interested in any serious discussion here.
Play:
Say: You're presupposing that I never said he did.
Play:
Say: What seems to you is pontification. It's like watching Siskel and Ebert saying it's a "piece of drivel". However, all you've been making personal attacks, which is not too long.
Play:
Say: Ah, so you're admitting to being a troll, John? That's not the one discussing music.
Play:
Say: On the contrary, it is Doe's and your responses that have posted responses that are the nuisance.
Play:
Say: On the contrary, you made a further posting to which I compared the *structure* to the next review. Fortunately they were about music, when in fact they were about music, when in fact they were about crossposting and such. I was discussing involving American composers, so the powers that be now have a problem with what you're talking about.
Play:
Say: Illogical; we haven't performed the Warren Barker arrangement of "Phantom of the Blast! performance in London. Yet another error in attribution.
Play:
Say: The question is still illogical.
Play:
Say: On the contrary, this is rec.music.classical.
Play: