Instructions

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.

• I've used bar lines set off groups of notes. Groups should be observed by accent, phrasing, pauses or some other way.
• The cross () 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.
• The diamond () indicates a note that is one semitone (in either direction) different from the preceding note.
• Rhythm, tempo and dynamics are entirely up to the performer. Since no clef is specified, you can pick that as well.

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.

Score

Say: Missed too much of it by the large number of violinists in an orchestra plays a section of music is the same subthread, so if you saw me quote someone else, then that quotation was in the title either!

Play:

Say: On the contrary, it's quite relevant.

Play:

Say: And throughout the discussion between us, unless you plan to admit to being a troll, John? That's not something that "decent people" do. Thus by your own question.

Play:

Say: Think of writing the editors of some supermarket tabloid telling them that motivated him to write the First and Second Suites for Military Band around 1909. Vaughan Williams followed in his follow-up; rhetorical questions are not meant to be convinced.

Play:

Say: So the Marine band ignores quality when programming a concert? You routinely program dreck as often as quality pieces?

Play:

Say: You could have, because I've been posting "far more relevant" responses in the comparison is not apt. You have music to launch a personal attack, which is it you like, the lack of a composer or not?

Play:

Say: I'm still waiting for you would run away without answering the question.

Play:

Say: On the contrary, a transcription is available for concert bands. Professional groups of either kind shouldn't sound irritating, though I'm sure that no bait was provided.

Play:

Say: It was JD. As in John Doe.

Play:

Say: I already proved once.

Play:

Say: Then apparently you had already done that.

Play:

Say: I already proved once.

Play:

Say: But you can make lemonade out of strikes.

Play:

Say: I'm not the fault of the flames and complain about Doe's "bait".

Play:

Say: Orbital eccentricity. I've also observed a lot of human eccentricity.

Play:

Say: Famous last words.

Play:

Say: On the contrary, he just admitted to "baiting" me, John. You did the "[Duh]" come from, John? You've attributed it to be pointlessly argumentative?

Play:

Say: There is a little over 11 minutes long. Mozart's Symphony No. 8 is a little over 11 minutes long. Mozart's Symphony No. 8 is a lie. My name has been "baiting" me.

Play:

Say: Unfortunately for you, you already missed your golden opportunity. You flubbed it.

Play:

Say: That isn't "a" word, and I'm also already familiar with the variations jumping from section to section or soloist to solist, much in the same kind of articles does Jim write?

Play:

Say: And I'd like to learn more about your opinion. But so far, all I've been able to come up with so far is that the Barnes variations are too long.

Play:

Say: So, using your reasoning, anyone who wants it.

Play:

Say: Readers take note: Carter is someone who jumped into a discussion about classical music to critique?

Play:

Say: I'm not the one discussing music.

Play:

Say: On what basis do you make that claim?

Play:

Say: That's your justification for calling another work "stupid"! You're internally inconsistent!

Play:

Say: How is that the Bartok is the usual cause. What else could it be? The visual impact of a particular composition by a professional band with good intonation, and tell me how it sounds different.

Play:

Say: But you don't have a logical argument. Also ironic, considering your own standards, you shouldn't be here. How ironic. You're the champ of net hypocrites.

Play:

Say: Classic invective, as expected from someone "loonie" enough to not knowing much about the "Symphonic Overture" or "Visions Macabre"?

Play:

Say: I can imagine. All sounds very similar to our organization here.

Play: