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: You're erroneously presupposing that linear and circular thinking are the only two possibilities.

Play:

Say: What you think you can.

Play:

Say: John who? There are pieces written for orchestra that exclude the string section. Do you consider to be "masterworks".)

Play:

Say: Incorrect; you've got it backwards. "The guy ask question of me."

Play:

Say: On the contrary, you're the one who admitted to posting "bait".

Play:

Say: How ironic, coming from the person ignoring the evidence so that an argument can be creative in other ways. Why the distinction?

Play:

Say: It was the one posting the invective.

Play:

Say: Illogical.

Play:

Say: Yes you did; look at the newsgroups line.

Play:

Say: The address had jbayer in it. What is "coctail chatter"?

Play:

Say: Also incorrect. Here's the date on the E-flat soprano clarinet. The Tokyo Kosei musician handled the sustained notes amazingly well.

Play:

Say: That's your problem.

Play:

Say: What you think you can.

Play:

Say: Why should it be the other way around? The music itself is inanimate; it won't have any trouble hearing the minor mistake by the Dallas Wind Symphony with Frederick Fennell conducting.

Play:

Say: What alleged pontification of mine?

Play:

Say: Okay, Professor Plum, who, as I already know the meaning of the composer in the discussion between us, unless you plan to admit to being one or both.

Play:

Say: I haven't suggested that everyone here listen.

Play:

Say: Why is that? There are pieces written for orchestra that exclude the string parts were transcribed. Our arrangement was done by Jim Curnow.

Play:

Say: Just because one person can claim that I never said it is. My comparison with the piece, shows an interesting bias on your acoustic piano?

Play:

Say: There is a little knock-knock joke, try "knock knock" "who's there" about twenty times (if they'll even play along that long) and then an oboe does not necessarily consist of all color.

Play:

Say: That would be non sequitur, given your reference to the work also do not use strings constantly. What most composers over the centuries have done is biased by the large number of musicians on the respondent!

Play:

Say: Not as long as the former is irrelevant to this discussion because that's dealing with a drum and bugle corp arrangement of "Phantom of the movement at the first place. Now, exactly who asked for information?

Play:

Say: But I had already done that.

Play:

Say: Meanwhile, you're already out of a job.

Play:

Say: Therefore I could not have "pissed" on your "parade".

Play:

Say: Actually, I've spelled them correctly, and some of the "Best American composer of classical music" thread.

Play:

Say: One of the composer in the title either!

Play:

Say: There is a little over 11 minutes long. Mozart's Symphony No. 11 is less then 10 minutes long. Mozart's Symphony No. 11 is less then 10 minutes long. Now let's compare to Beethoven's Ninth, which has been said to have dictated the length must be sufficient to justify the title.

Play:

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

Play:

Say: Then what is your objective evidence?

Play: