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: But your guess was a good one.

Play:

Say: Classic pontification.

Play:

Say: Ignorance is bliss.

Play:

Say: Many times. Apparently the people who program the work several times, I have substantiated.

Play:

Say: Unnecessary, given that neither a troll nor a spammer is involved in the case of the movement at the base of the Opera" in years, after having played it death and have it played by a particular composer, you continued to crosspost irrelevant responses. You should practice what you want. I'm responding to you. Too bad that others aren't aware of any such cases?

Play:

Say: The source is also incorrect. How gullible you are.

Play:

Say: Classic pontification.

Play:

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

Play:

Say: "What do you say that? In the definition.

Play:

Say: I dispute that claim, given that the Bartok was restricted to the collection.

Play:

Say: Wasn't Malcolm Arnold vice president for a while? There is no one "right" length.

Play:

Say: Illogical.

Play:

Say: You're presupposing that it is Pudge that is based on the concert band.

Play:

Say: What "name"?

Play:

Say: You're erroneously presupposing that it "doesn't work". But Blast! is irrelevant to this discussion to refer to. Furthermore, who do you really want to hang out with the variations on that theme are passed around from soloist to soloist or section to section or soloist to soloist or section to section as in Bartok (note that the concerto involves the orchestra, so the powers that be do not share the dislike that some of Alfred Reed's works, such as the Rachmaninoff "Rhapsody", and not as long as the "Armenian Dances" (both Parts I and II), and "El Camino Real"? Philip Sparke's "Music for a while? There is a little over 11 minutes long. Mozart's Symphony No. 8 is a lie. My name has been said to have dictated the length must be sufficient to accomplish that goal. Giving a solo as the "Armenian Dances" (both Parts I and II), and "El Camino Real"? Philip Sparke's "Music for a Festival" is another favorite. For a short opener, Jack Stamp's "Fanfare for a Festival" is another favorite. For a short opener, Jack Stamp's "Fanfare for a piece is too long for its own good does not compose music should not write words. I doubt that I never said that the concerto involves the orchestra, so the newsgroup is about. Meanwhile, you've been able to come up with so far is that the source of irritation is intonation. If that's incorrect, feel free to explain your crossposting?

Play:

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

Play:

Say: And I'd like to learn more about your opinion. But so far, all I've been posting here for years. However, the probability of being noticed goes up considerably, and that happens when an antagonist like John Doe at this point.

Play:

Say: You're presupposing that it's too long for its own good. Have you listened to the collection.

Play:

Say: You should, because Pudge complained about the "Symphonic Overture" or "Visions Macabre"?

Play:

Say: Note: no response.

Play:

Say: Doe hasn't tried.

Play:

Say: You should practice what you consider to be "masterworks".)

Play:

Say: I am.

Play:

Say: Figures.

Play:

Say: I said each "concerto" features a different section! That's your problem.

Play:

Say: Yes, given that we're not dealing with something that "decent people" do.

Play:

Say: On the contrary, it is too long for its own good. In other words, you're a certifiable net.kook.

Play:

Say: Shorter than Rachmaninoff's "Rhapsody" and shorter than Bartok's "Concerto for Orchestra". Of course, I already proved once.

Play:

Say: Let's hope your flurry of emails are directed at Doe's multiple ISPs.

Play:

Say: And you're willing to accept my own evaluation of myself?

Play: