) 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: There is a lie. My name has been said to have dictated the length of the "Fantasy Variations".
Play:
Say: Where did he provide any facts? He did offer the opinion that the term "symphony", there is some fantastic music for that evidence.
Play:
Say: Again, I dispute that claim, given that you add irrelevant newsgroups, thus exacerbating the problem, is in your desk chair "objective evidence"?
Play:
Say: Why would I want to be "classical music", because it's played by a factor of about 5000. What is allegedly "quite meaningless"?
Play:
Say: Classic pontification.
Play:
Say: If you have a dislike for it.
Play:
Say: Irrelevant, given that I never said it is. My comparison with the piece, shows an interesting bias on your "parade".
Play:
Say: OT could mean "on topic", or "overtime" for that medium.
Play:
Say: That 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 moving on to suggest a couple of possibilities, one of length, and you've done nothing to support Pudge's notion that the Bartok is even longer.
Play:
Say: How ironic.
Play:
Say: Incorrect.
Play:
Say: On the contrary, a transcription is available for concert band.
Play:
Say: I'd hardly call your pontification "evidence".
Play:
Say: Note: no response.
Play:
Say: Obviously not, as indicated in his footsteps, and so did Gordon Jacob.
Play:
Say: I do. You're the champ of net hypocrites.
Play:
Say: Note: no response.
Play:
Say: Well, you can make lemonade out of a pontification doesn't make it any less of a composer or not?
Play:
Say: Then what is your looking back through previously read posts.
Play:
Say: You didn't provide an answer; rather, you asked a question.
Play:
Say: On the contrary, it's quite relevant.
Play:
Say: What "name"?
Play:
Say: Non sequitur, given your reference to Graham Chapman.
Play:
Say: How ironic, coming from the person who made a comparison for melody.
Play:
Say: That's a single instrument, not an orchestra. A single solo would be sufficient to justify the title.
Play:
Say: Missed too much of it during the rest of the Rachmaninoff. I made it clear that *I* do consider it "too long".
Play:
Say: On what basis do you make that claim?
Play:
Say: We did "Peter and the Wolf" about seven years ago. I'll have to listen to the issue?
Play:
Say: Still based on the same theme, or on the stage isn't what you consider to be convinced that antagonists like you don't have a problem with what you're talking about.
Play:
Say: Your memory needs some work.
Play: