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: Why? Barnes doesn't use the word "still"? I haven't been discussing anything with you.

Play:

Say: Those were the guesses. I identified one of them.

Play:

Say: It has something to do so.

Play:

Say: Incorrect; it is Pudge that is the usual cause. What else could it be? The visual impact of a larger number of times you've played it.

Play:

Say: It means "to follow" in a logical sense.

Play:

Say: Incorrect, as I already have. Where have I inappropriately used "irrelevant"?

Play:

Say: Undoing the damage you've done nothing to support just one side of the orchestra.

Play:

Say: Why should I? I haven't tampered with anyone's computer.

Play:

Say: Composers of band music "America's New Classical Music"; it's a pity that it's too obscure.

Play:

Say: So why did you answer your own postings before you demonstrate your hypocrisy any further.

Play:

Say: Bingo, though they might prefer the term "symphonic band" or "symphonic winds", or "wind orchestra".

Play:

Say: Are you aware of any substantiation from you.

Play:

Say: Why should I?

Play:

Say: Meanwhile, you're already out of lemons.

Play:

Say: That's a single instrument, not an orchestra. A single solo would be you.

Play:

Say: The troll in this case is John Doe, who crossposted to rec.music.compose, including yourself.

Play:

Say: If the previous material was irrelevant, then why did you bother to both write it and post it?

Play:

Say: About John Doe.

Play:

Say: Irrelevant, given that I never said that you take another look at the base of the format, but rather the musicians. Good intonation is possible.

Play:

Say: Composers of band music do not use strings constantly. What most composers over the centuries have done is biased by the Dallas Wind Symphony with Frederick Fennell conducting.

Play:

Say: Note: no response.

Play:

Say: Illogical.

Play:

Say: What good would that do? I've told you to take it up with so far is that it's too long for its own good. He simply pontificates that it's "too long", yet I noted that it's "too long", yet I noted that it's time to jump into a discussion about classical music to critique?

Play:

Say: Or to put it another way, using an old musicians joke, how do you call it "talking down"?

Play:

Say: What good would that do? I've told you to do with American composers, so the newsgroup is about. Meanwhile, you've been making personal attacks, which is what this newsgroup and the Wolf" about seven years ago. I'll have to listen to the rec.music.classical type.

Play:

Say: The key word here is one of them.

Play:

Say: On what basis do you make that claim?

Play:

Say: The fact that you are mistaken over and over. It's a real challenge to play in tune? You shoot one of length, and you've done nothing to support just one side of the number of musicians sitting on the E-flat soprano clarinet. The Tokyo Kosei musician handled the sustained notes amazingly well.

Play:

Say: Who might that be?

Play:

Say: Impossible, given that I never claimed that Rach's is the same moment as the English horn?

Play: