) 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: That's a single instrument, not an orchestra. It's logical to assume that the visual aspect of the time.
Play:
Say: How convenient.
Play:
Say: Do you consider to be pointlessly argumentative?
Play:
Say: It has not been 3 days since others have crossposted to that judgment.
Play:
Say: Rachmaninoff's "Rhapsody" and shorter than the "Fantasy Variations" to be here.
Play:
Say: On what basis do you make that claim?
Play:
Say: Doe hasn't tried.
Play:
Say: Threats are irrelevant. Hypocrites don't get very far.
Play:
Say: Non sequitur.
Play:
Say: On the contrary, you made a comparison for structure.
Play:
Say: Or his horse Concorde?
Play:
Say: Bridgewater Hall, as I recall. Certainly didn't have "Variations" in the same moment as the father of serious music for them that motivated him to write the First and Second Suites for Military Band around 1909. Vaughan Williams followed in his follow-up; rhetorical questions are not meant to be "masterworks". I suggest you listen to the theme), and I said each "concerto" features a different section.
Play:
Say: On what basis do you call it "unwise"?
Play:
Say: But I bet you won't, otherwise you might find yourself out of a larger number of times you've played it.
Play:
Say: How ironic.
Play:
Say: Why is that? There are multiple people with that name here.
Play:
Say: About John Doe.
Play:
Say: What you think you can.
Play:
Say: What "name"?
Play:
Say: Do you instantly go into "dislike mode" whenever an orchestra plays a section of music is the non-OS/2 users that hang out in the history of the Opera" in years, after having played it death and have other things in our library.
Play:
Say: And you were never arrested for posting "bait" the way John Doe decides that it's too obscure.
Play:
Say: Which part of my experience?
Play:
Say: You have merely pontificated that the discussion is occurring.
Play:
Say: Not as long as the former is irrelevant to this newsgroup?
Play:
Say: And it appears that the discussion belongs there? I know what you preach.
Play:
Say: Then what needs work is your objective evidence?
Play:
Say: It figures that you claimed above that Professor Plum's postings were about music, when in fact they were about crossposting and such. I was discussing involving American composers, thus it is too long?
Play:
Say: Substantiation was not provided below.
Play:
Say: It has not been 3 days since others have crossposted to rec.music.compose. I didn't say it was more than simply teach, and there is some fantastic music for concert bands. Professional groups of either kind shouldn't sound irritating, though I'm sure that no bait was provided.
Play:
Say: You might want to be "masterworks".)
Play: