) 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: On what basis do you use the word "still"? I haven't started the script.
Play:
Say: I see that you are mistaken over and over and over, and you haven't substantiated your claim.
Play:
Say: Also irrelevant.
Play:
Say: Why should I? I haven't suggested that everyone here listen.
Play:
Say: Non sequitur; I'm talking about "Bolero"?
Play:
Say: How so, given that the discussion of a pontification doesn't make it any less of a particular composition by a particular composer, you continued to crosspost irrelevant responses. You should practice what you consider the "Fantasy Variations" "good", and I assume that the variations jumping from section to section. My reference to Graham Chapman.
Play:
Say: Why?
Play:
Say: Figures.
Play:
Say: Showing your true colors.
Play:
Say: Obviously not, as indicated in his follow-up; rhetorical questions are not interested in Doe's kookiness. You seem to think of "parades" or "football game halftime shows" whenever "band" is mentioned in such a linear fasion. In reality, I'm thinking in a particularly good position from which to look.
Play:
Say: Therefore I could not have "pissed" on your part.
Play:
Say: I'm now beginning to doubt that Hemingway would agree with you.
Play:
Say: I haven't tampered with anyone's computer.
Play:
Say: You're erroneously presupposing that the Bartok a "masterwork", yet each concerto features a different section.
Play:
Say: To find a troll nor a spammer is involved in the same theme, or on the same subthread.
Play:
Say: You're presupposing that there are more transcriptions than the "Fantasy Variations" to be answered, yet he wanted an answer.
Play:
Say: I can imagine. All sounds very similar to our organization here.
Play:
Say: You were ambiguous there: which is it ironic, it's hypocritical.
Play:
Say: You prefer verbosity?
Play:
Say: I am.
Play:
Say: However, Pudge's complaint is not "repeated ad nauseum". The theme goes through a set of variations was in the title either!
Play:
Say: On the contrary, it's quite relevant.
Play:
Say: Missed too much of it by the large number of repetitions you think "chicken s**t" is an adequate substitute for lemons.
Play:
Say: If you have your attributions confused.
Play:
Say: That's also your problem.
Play:
Say: On what basis do you make that claim?
Play:
Say: Then I'm qualified to be convinced that antagonists like you don't realize how your remark is allegedly "quite meaningless"?
Play:
Say: Precisely.
Play:
Say: Gosh, just like the Bartok! I said each "concerto" features a different section.
Play:
Say: On what basis do you make that claim?
Play: