The Troll Variations
for a soloist
by
Tom Duff
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Instructions

This piece is for a soloist playing any instrument.

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.

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.

Score

Say: Undoing the damage you've done nothing to do nothing but make personal attacks. I've been discussing the "pago-pago variations".

Play:






Say: Non sequitur.

Play:


Say: Just ten lines up: "OK, since tried to help and you haven't changed your antagonistic attitude.

Play:




Say: The key word here is one of them.

Play:


Say: "What do you make that claim?

Play:


Say: Many regard Holst as the Bartok is the "Fantasy Variations" "good", and I assume that the comparison is restricted to how well or how badly you play it. Perhaps you should spend more time thinking about the length, yet the two pieces to which I made "that one".

Play:








Say: The other two what?

Play:


Say: That's because the message from someone who jumped into a discussion about classical music to critique?

Play:




Say: Why?

Play:


Say: And you went on to the recording to refresh my memory about how the variation jumps from instrument to instrument or section to section, just as in the case of the musicians might have for it.

Play:






Say: Different theme; the Rachmaninoff "Rhapsody", and not as long as the rest room break.

Play:




Say: On the contrary, it's quite relevant.

Play:


Say: You have music to critique?

Play:


Say: Unfortunately for you, you already missed your golden opportunity to NOT DO THAT!

Play:




Say: An illogical question, given that you are not interested in any serious discussion here.

Play:




Say: John who? There are lots of "another thread"s in which the solo jumps from soloist to solist, much in the first line above, it looks like it's about Ed Casey's erroneous warning. If you look at what you find "that many" violins to be "classical music", because it's played by a concert band arrangement.

Play:












Say: Irrelevant, given that I never claimed that Rach's is the "Fantasy Variations".

Play:




Say: Who is Ed Bates and how is a little editing.

Play:


Say: Yet more evidence that you add irrelevant newsgroups, thus exacerbating the problem, is in your desk chair "objective evidence"?

Play:






Say: Star Spangled? Stars and Stripes? Anchors Aweigh? Semper Fi?

Play:




Say: Still non sequitur.

Play:


Say: That's not even grammatical.

Play:


Say: It has something to do with American composers, so the powers that be do not share the dislike that some do at least one. Wouldn't be surprised if there were others. Some transcribers will do a watered-down version for younger musicians.

Play:








Say: Doe cannot win an argument can be perpetuated.

Play:


Say: I dispute that claim, given that I was attending brought in an orchestra plays a section of music where the strings aren't playing?

Play:




Say: John who? There are many places in New England that copy names from England.

Play:




Say: Especially to anyone who wants it.

Play:


Say: On the contrary, you're the one who admitted to posting "bait".

Play:




Say: Classic pontification.

Play:


Say: What for you would constitute evidence of my experience?

Play: