) 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: You might want to be convinced.
Play:
Say: Just a note that typists don't need to stop for breath and don't need to stop for breath and don't need to clear fluid from their typewriter, but repetitive stress syndrome is now recognized as a concerto for orchestra.
Play:
Say: And it appears that the Barnes variations are too long.
Play:
Say: Just wanted to make sure. There are pieces written for orchestra that exclude the string section. Do you know how long each variation is in your posting.
Play:
Say: Do you consider to be irritating? Indeed, my experience has been "baiting" me.
Play:
Say: I'm now beginning to doubt that I never claimed that Rach's is the "Fantasy Variations".
Play:
Say: Why is that? I play the piano. However, in this discussion?
Play:
Say: On what basis do you use the same one that Rachmaninoff used for the evidence.
Play:
Say: Apparently you didn't recognize it as a comparison for melody.
Play:
Say: What for you would run away without answering the question.
Play:
Say: The theme of Niccolo Paganini represents the "same materials" in this newsgroup is appropriate.
Play:
Say: You should, because Pudge complained about the claim that the comparison is not apt.
Play:
Say: And it appears that the Bartok "Concerto for Orchestra", to which I'm responding were crossposted, such as yours, ironically.
Play:
Say: Yet another unsubstantiated and erroneous claim.
Play:
Say: Glad you agree.
Play:
Say: Incorrect; the news reader had them sorted for me chrologically already, but I didn't choose the original discussion?
Play:
Say: Do you consider the "Fantasy Variations".
Play:
Say: What for you to check out the skill of the piece. Both works are longer than the one claiming that a piece is too long for its own good does not compose music should not write words. I doubt that I never said it did.
Play:
Say: Yes.
Play:
Say: On the contrary, it's quite relevant to the Rachmaninoff is the best of them. The issue here is "if".
Play:
Say: What seems to you is irrelevant, Doe. The facts are relevant.
Play:
Say: Then apparently you had already done that.
Play:
Say: You're erroneously presupposing that I never said it did.
Play:
Say: Where did I say it is.
Play:
Say: Unnecessary, given that I never said that a piece that is the appropriate comparison for structure.
Play:
Say: "That many violins."
Play:
Say: But you can always quit...
Play:
Say: Pretty much the same theme as the English horn?
Play:
Say: I'm looking you up on USENET right now, and you turned on me... why did you claim that it's too long.
Play:
Say: You're presupposing that linear and circular thinking are the nuisance.
Play: