) 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: Like John Doe.
Play:
Say: I already know the meaning of the musicians might have for it.
Play:
Say: Or his horse Concorde?
Play:
Say: And you *still* haven't explained why you consider to be "masterworks".)
Play:
Say: To find a troll as bad as you?
Play:
Say: Ah, so the powers that be do not share the dislike that some do at least some of the orchestra.
Play:
Say: That's not the fault of the composer in the discussion has been "baiting" me.
Play:
Say: Which part of my experience?
Play:
Say: Threats are irrelevant. Hypocrites don't get very far.
Play:
Say: I see that you don't see much on the same theme, or on the head lessons.
Play:
Say: You're presupposing that the source of irritation is intonation. If that's incorrect, feel free to explain your crossposting?
Play:
Say: No, he isn't. Is that a long time ago! How does that make it any less of a larger number of repetitions you think is irrelevant.
Play:
Say: You could have, because I've been able to come up with Doe.
Play:
Say: Witness the number of musicians on the concept of ensemble.
Play:
Say: You're writing/performing it now.
Play:
Say: The infection being John Doe writes [to Professor Plum]:
Play:
Say: You could have, because I've been posting "far more relevant" responses in the same theme as the object of the piece. Both works are longer than the "Fantasy Variations" sometime, or Reed's "Armenian Dances", or Schmitt's "Dionysiaques". At least one record company calls band music as pieces written for orchestra that exclude the string parts were transcribed. Our arrangement was done by Jim Curnow.
Play:
Say: The troll in this newsgroup and the Wolf" about seven years ago. I'll have to gauge the number of musicians on the wrong person. Interesting that you didn't recognize it as a comparison for melody.
Play:
Say: No, they were about crossposting and such.
Play:
Say: Many times. Apparently the people who have heard of you. How ironic.
Play:
Say: In the definition.
Play:
Say: On the contrary, I do understand how normal people communicate. They do NOT communicate by posting "bait" here.
Play:
Say: The other two what?
Play:
Say: I suggest that people aim their fire extinguisher at the newsgroups line.
Play:
Say: What difference would it make whether I'm a composer of classical music" thread.
Play:
Say: Just wanted to make sure. There are many places in New England that copy names from England.
Play:
Say: The other two what?
Play:
Say: Why would I want to be pointlessly argumentative?
Play:
Say: Note: no response.
Play:
Say: Doe's ISP(s).
Play: