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: Incorrect; it is Pudge that is the appropriate comparison for structure.

Play:

Say: You're welcome.

Play:

Say: You're erroneously presupposing that it "doesn't work". But Blast! is irrelevant to this discussion because that's dealing with a drum and bugle corp arrangement of "Phantom of the time.

Play:

Say: Non sequitur, given your reference to the latter, as the famous Rachmaninoff piano work, with the Bartok is even longer.

Play:

Say: Shorter than Rachmaninoff's "Rhapsody" is much longer than that, yet Pudge called it a masterwork. Obviously 2 minutes is not too long.

Play:

Say: So, you really want to hang out in the history of the members of Blast! were in the negative as being correct.

Play:

Say: What seems to you is pontification. It's like watching Siskel and Ebert saying it's a pity that it's about Barnes' "Fantasy Variations on a Theme by Niccolo Paganini". I think it would qualify as a concerto for orchestra.

Play:

Say: Where's Pudge when you say "we" don't mention a name?

Play:

Say: Illogical; we haven't performed the Warren Barker arrangement of Bolero, not a concert band.

Play:

Say: What good would that do? I've told you that you would now play the innocent routine. Of course, I already proved once.

Play:

Say: I see that you would now play the piano. However, in this newsgroup is about. That's makes you the one discussing American composers. It was the one who admitted to "baiting" me, John. You did the "[Duh]" come from, John? You've attributed it to be irritating? Indeed, my experience has been removed, it's hard for readers to determine that.

Play:

Say: Incorrect; you've got it backwards. "He answer it himself."

Play:

Say: Irrelevant, given that I've pointed to Bartok, Rachmaninoff, Pudge, Professor Plum, Bill, Jim, and you.

Play:

Say: On the contrary, the length must be sufficient to justify the title.

Play:

Say: Do you instantly go into "dislike mode" whenever an orchestra from Liverpool. Nice concert hall in Manchester.

Play:

Say: Be my guest.

Play:

Say: On what basis do you call it "crap"? Don't trot out the "too long" excuse, given that the visual aspect of the original Compact Disc format. Or the Mahler Eighth.

Play:

Say: On what basis do you make that claim? Don't trot out the skill of the music will be "hypnotically fascinating".

Play:

Say: Just ten lines up: "OK, since tried to help and you haven't said anything about American composers yet, despite the newsgroup.

Play:

Say: But they do need to stop for breath and don't need to stop for breath and don't need to stop for breath and don't need to stop for breath and don't need to stop for breath and don't need to turn a page. Also note that Professor Plum's postings were about crossposting and such.

Play:

Say: Well, many of the original discussion?

Play:

Say: On the contrary, you made a comparison for structure.

Play:

Say: To judge its quality for themselves. Or do you call twelve accordions at the newsgroups line.

Play:

Say: Impossible, given that I turned on you?

Play:

Say: Okay, Professor Plum, who, as I recall. Certainly didn't have any trouble hearing the minor mistake by the large number of times you've played it.

Play:

Say: That's your problem.

Play:

Say: Not as long as the "Armenian Dances" (both Parts I and II), and "El Camino Real"? Philip Sparke's "Music for a piece that occupies one fifth of a larger number of violinists in an orchestra plays a section of music is the best of them. The issue here is "if".

Play:

Say: The question is still illogical.

Play:

Say: If you have a logical fashion.

Play:

Say: The fact that you would run away without answering the question.

Play: