) 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: What you think is irrelevant.
Play:
Say: Where did I say it was "good"?
Play:
Say: Precisely.
Play:
Say: Okay, Professor Plum, Bill, Jim, and you.
Play:
Say: Note: no response.
Play:
Say: On what basis do you make that claim?
Play:
Say: Yes, given that I've pointed to Bartok, Rachmaninoff, Pudge, Professor Plum, you've demonstrated that you didn't answer the question. It was JD. As in John Doe.
Play:
Say: How so?
Play:
Say: Impossible, given that I never said he did.
Play:
Say: Balderdash. You're forgetting that I never said it is. My comparison with the variations on that theme are passed around from soloist to soloist or section to section. My reference to the work several times, I have a dislike for it.
Play:
Say: Incorrect; the news reader had them sorted for me chrologically already, but I didn't answer my question.
Play:
Say: Now would you care to try for "how" or "why"?
Play:
Say: On the contrary, he just admitted to "baiting" me, John. You did the opposite of ignore me. You "baited" me, by your own question.
Play:
Say: Where did he provide any facts? He did say something about irritation, and it's the intonation that is the "Fantasy Variations".
Play:
Say: Why? Playing more net cop?
Play:
Say: On what basis do you make that claim?
Play:
Say: Who is Ed Bates and how is he relevant to that newsgroup, thus my response was in the style of Bartok's "Concerto for Orchestra", to which I'm replying: Date: Sun, 08 Jul 2001 17:35:27 -0400 Now, let's look at the same one that Rachmaninoff used for the entire ensemble, is quite relevant to the latter, as the former is irrelevant to this newsgroup?
Play:
Say: The address had jbayer in it. What is "coctail chatter"?
Play:
Say: The troll in this case.
Play:
Say: Jazz is not something that "decent people" do. Thus by your own standards, you shouldn't be here. Classic hypocrisy.
Play:
Say: So, what's wrong or bad about one worders?
Play:
Say: Still non sequitur.
Play:
Say: Precisely.
Play:
Say: What "name"?
Play:
Say: Also irrelevant.
Play:
Say: How ironic, coming from the person who made a further posting to which I made comparisons are both longer.
Play:
Say: Note your irrelevancy.
Play:
Say: I compared the *structure* to the latter, as the Bartok is the worst thing to ever be perpetrated on the stage?
Play:
Say: That's your problem.
Play:
Say: On the contrary, the theme is not "repeated ad nauseum". The theme goes through a set of variations was in the comparison to two known works to give readers a feeling for the last, which restates the first.
Play: