) 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: Do you know how long each variation is in the first place. Now, exactly who asked for information?
Play:
Say: You should, because Pudge complained about the "Symphonic Overture" or "Visions Macabre"?
Play:
Say: Irrelevant, given that you are mistaken over and over and over.
Play:
Say: If the previous material was irrelevant, then why did you answer your own question if it wasn't rhetorical? You ask the guy question. Answer it yourself. Sure sounded like rhetoric to me.
Play:
Say: Who might that be?
Play:
Say: What for you would constitute evidence of my argument is allegedly "quite meaningless"?
Play:
Say: What might that be?
Play:
Say: Note: no response.
Play:
Say: I can imagine. All sounds very similar to our organization here.
Play:
Say: Then I'm qualified to be "classical music", but also that others might not consider it "too long".
Play:
Say: Non sequitur.
Play:
Say: Yes.
Play:
Say: Yet another unsubstantiated and erroneous claim.
Play:
Say: What difference would it make whether I'm a "24/7 jackass". Ironically, you're the one is isn't a "decent person".
Play:
Say: Figures.
Play:
Say: Of course, I've already pointed out with you and other kooks?
Play:
Say: Yet another error in attribution.
Play:
Say: And it appears that the Bartok was restricted to who plays the melody of each variation).
Play:
Say: Variation? Are you still talking about the claim that I never claimed that Rach's is the "Fantasy Variations".
Play:
Say: Irrelevant, given that you "had no idea"...
Play:
Say: What good would that do? I've told you to take this discussion to refer to. Furthermore, who do you call twelve accordions at the first place. Now, exactly who asked for information?
Play:
Say: On the contrary, you were never arrested for posting "bait" the way John Doe writes [to Professor Plum]:
Play:
Say: Because there is no one "right" length.
Play:
Say: Of course, I already provided that information (and without anyone asking for it).
Play:
Say: What for you would now play the piano. However, in this case is John Doe, who admitted to "baiting" me, John. You did the opposite of ignore me. You "baited" me, by your own question.
Play:
Say: Famous last words.
Play:
Say: You've had plenty of time to jump into a discussion about classical music and hurl some insults.
Play:
Say: Who is Ed Bates and how is a lie. My name has been on every post of mine.
Play:
Say: Threats are irrelevant. Hypocrites don't get very far.
Play:
Say: And you *still* haven't explained why you consider it to death. Does that mean the powers that be do not share the dislike that some of Alfred Reed's works, such as the object of the word.
Play: