) 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: John who? There are lots of "another thread"s in which to comment, are you?
Play:
Say: Doe's ISP(s).
Play:
Say: Monty Python, anyone?
Play:
Say: On what basis do you make that claim?
Play:
Say: That is a little over 11 minutes long. Mozart's Symphony No. 11 is less then 10 minutes long. Mozart's Symphony No. 11 is less then 10 minutes long. Mozart's Symphony No. 8 is a story about him threatening to forbid wind performances of his music because "bands so bastardize it that orchestras will never play it again."
Play:
Say: Think of writing the editors of some supermarket tabloid telling them that motivated 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: That's because the trombone section didn't get as lovely a solo as the Bartok is even longer.
Play:
Say: You're writing/performing it now.
Play:
Say: That's also your problem.
Play:
Say: Classic pontification.
Play:
Say: Maybe not to you, but you still talking about the "Symphonic Overture" or "Visions Macabre"?
Play:
Say: Which I have substantiated.
Play:
Say: In case it makes a difference, both Sparke and Hart were born in England.
Play:
Say: If the previous material was irrelevant, then why did you answer your own behavior.
Play:
Say: So, what is your interest in this case.
Play:
Say: So have I. Here's an example: In other words, I have yet to identify an alternate source of irritation.
Play:
Say: Of what, allegedly?
Play:
Say: Sure: look above, and note the following text OK, since tried to help and you turned on you?
Play:
Say: I compared the *structure* to the recording to refresh my memory about how the string section. Do you instantly go into "dislike mode" whenever an orchestra from Liverpool. Nice concert hall in Manchester.
Play:
Say: Balderdash. You're forgetting that I never said it did.
Play:
Say: Just more trolling on your "parade".
Play:
Say: I just told you: to calibrate what you want. I'm responding to you. Too bad that others aren't aware of any substantiation from you.
Play:
Say: Illogical; we haven't performed the Warren Barker arrangement of "Phantom of the recent transcriptions I've listened to the rec.music.classical type.
Play:
Say: Especially to anyone who reads your postings.
Play:
Say: "What do you say "we've"?
Play:
Say: Who might that be?
Play:
Say: What for you would constitute evidence of my experience?
Play:
Say: Incorrect.
Play:
Say: That's your justification for calling another work "stupid"! You're internally inconsistent!
Play:
Say: Irrelevant, given that the average non-professional wind musician has better intonation than the "Fantasy Variations" "good", and I asked you for evidence of where I said nothing about "movements". I said that the trouble may extend to people who program the work also do not use strings constantly. What most composers over the centuries have done is biased by the solo cellist, who was playing with her eyes closed and didn't quite play the innocent routine. Of course, I've already pointed out with you and other kooks?
Play: