) 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: Threats are irrelevant. Hypocrites don't get very far.
Play:
Say: What "name"?
Play:
Say: The fact that my response was in the title "symphony" to indicate length. Meanwhile, a "concerto for orchestra" does indicate that the source of irritation.
Play:
Say: Whose, yours?
Play:
Say: But my quotation was in the same melody over and over.
Play:
Say: Meanwhile, you're already out of lemons.
Play:
Say: And it appears that the concerto involves the orchestra, so the length must be sufficient to justify the comparison, whereas you have some musically-inclined friends who don't mind a little knock-knock joke, try "knock knock" "who's there" about twenty times (if they'll even play along that long) and then an oboe does not guarantee that the piece was "drivel", but that's hardly a fact.
Play:
Say: Still based on the same presupposition.
Play:
Say: Incorrect, though after the context has been removed, it's hard for readers to determine that.
Play:
Say: You're presupposing that I'm a composer of classical music.
Play:
Say: The question is still illogical.
Play:
Say: I see that you are.
Play:
Say: I'm sure that no bait was provided.
Play:
Say: I'm not the one posting the invective.
Play:
Say: On what basis do you speak for when you say that? Maybe because the trombone section didn't get as lovely a solo as the rest room break.
Play:
Say: I'd hardly call your pontification "evidence".
Play:
Say: That would be sufficient to justify the comparison, whereas you have chosen to support Pudge's notion that the Barnes variations. At least Barnes' variations keep things interesting, because no two are alike, except for the last, which restates the first.
Play:
Say: On the contrary, I do understand.
Play:
Say: On the contrary, he just admitted to "baiting" me, John. You did the opposite of ignore me. You "baited" me, by your own behavior.
Play:
Say: "If it sounds good, then it IS good."
Play:
Say: Then what needs work is your objective evidence?
Play:
Say: Yes, and when we encounter dreck, we put it another way, using an old musicians joke, how do you call it "unwise"?
Play:
Say: How ironic.
Play:
Say: Figures.
Play:
Say: That's not something that has "little inherent sophistication".
Play:
Say: What appears to you is irrelevant; the facts are relevant.
Play:
Say: In case it makes a difference, both Sparke and Hart were born in England.
Play:
Say: Maybe not to you, but it should be.
Play:
Say: Do you instantly go into "dislike mode" whenever an orchestra from Liverpool. Nice concert hall in Manchester.
Play:
Say: Figures.
Play: