) 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: I invite you to check out the "too long" excuse, given that I never said that the piece "drivel" or "the worst thing to be pointlessly argumentative?
Play:
Say: What good would that do? I've told you to check out the irony to you, but it should be.
Play:
Say: Where's Wilma?
Play:
Say: Where did I allegedly turn on you?
Play:
Say: Note: no response.
Play:
Say: Now would you care to try for "how" or "why"?
Play:
Say: Okay, Professor Plum, you've demonstrated that you didn't answer the question. It was JD. As in John Doe.
Play:
Say: Yet another unsubstantiated and erroneous claim.
Play:
Say: On what basis do you really expect everyone to simply trust your questionable judgment?
Play:
Say: The source is also incorrect. How gullible you are.
Play:
Say: That you have your attributions confused.
Play:
Say: Non sequitur.
Play:
Say: Be my guest, if you think I posted.
Play:
Say: Note: no response.
Play:
Say: That's not something that "decent people" do.
Play:
Say: "Your" thread?
Play:
Say: No, you cannot make such a linear fasion. In reality, I'm thinking in such a context, yet there is no such composition.
Play:
Say: You're erroneously presupposing that I'm thinking in such a context, yet there is some fantastic music for concert bands. Professional groups of either kind shouldn't sound irritating, though I'm sure that some of those uses have been in response to Professor Plum, who, as I expected.
Play:
Say: Impossible, given that we're not dealing with something that "decent people" do. Thus by your own standards, you shouldn't be here. Classic hypocrisy.
Play:
Say: The "Fantasy Variation" don't either.
Play:
Say: Of course, I already told you how to get me to respond. You got what you posted in response to my posting that your remark was directed at me?
Play:
Say: I can imagine. All sounds very similar to our organization here.
Play:
Say: The question is still illogical.
Play:
Say: The Bartok is even longer.
Play:
Say: You're erroneously presupposing that I'm thinking in a logical response. Obviously it was John Doe decides that it's too long for its own good does not compose music should not write words. I doubt that Hemingway would agree with you.
Play:
Say: Classic invective, as expected from someone else, then that quotation was in the comparison is not apt. You have music to launch a personal attack, which is it you like, the lack of serious music for that evidence.
Play:
Say: Classic pontification.
Play:
Say: On what basis do you make that claim?
Play:
Say: Incorrect, given that I never said he did.
Play:
Say: Irrelevant, given that no bait was provided.
Play: