Willow: We can come by between classes. Usually I use that time to copy over my class notes with a system of different colored pens. But it's been pointed out to me that that's, you know, insane.
Tara: I said "quirky."Amber Benson
Willow: Don't worry, we're sure to spot Faith first. She's like this cleavagey slutbomb walking around going, "Ooh, check me out, I'm wicked cool, I'm five by five."
Tara: "Five by five?" Five what by five what?
Willow: See, that's the thing. No one knows.Amber Benson
Willow: Questions. Great.
Tara: W-we can answer questions.
Nigel: Good. I need to know a little bit more about the Slayer, and about the both of you. Your relationship, whatever you can tell me.
Tara: O-o-our relationship?
Willow: We're friends.
Tara: Good friends.
Willow: Girlfriends, actually.
Tara: Yes, we're girlfriends.
Willow: We're in love. W-we're lovers. We're lesbian, gay-type lovers.
Nigel: I meant your relationship with the Slayer.Amber Benson
Willow: What did I have for breakfast this morning? Do you remember?
Tara: Huh?
Willow: I-I wanna say bagel, but I think that was yesterday. You had two eggs sunny side up. I remember because they were wiggling at me like little boobs.
Tara: Sassy eggs.Amber Benson
Z-relation, or rather, "that certain pitch-class collections share the same 'interval vector' even though they are neither transpositionally nor inversionally equivalent was first pointed out by Howard Hanson in Harmonic Materials of Modern Music (New York: Appleton-Century-Crofts, 1960), p. 22, and by David Lewin in "Re: The Intervallic Content of a Collection of Notes," Journal of Music Theory 4:1 (1960). For a general criticism of Forte's concepts of pitch-class set equivalence see Perle, "Pitch-Class Set Analysis: An Evaluation," Journal of Musicology 8:2 (1990).
George Perle
Willow: Tell me a story.
Tara: Okay. Once upon a time, there was, um... a kitty. She was very little, and she was all alone, and nobody wanted her.
Willow: This is a very upsetting story.Amber Benson
Benson, Amber
Bentham, Jeremy
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